Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Kyrgyzstan and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Spokane kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Feelies practice in a loft in Haledon.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing La Düsseldorf to the dance kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Major Organ And The Adding Machine. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
The Busters,
Ken Boothe,
The Grass Roots,
Unrelated Segments,
Roy Ayers Ubiquity,
X-101,
Lebanon Hanover,
Pulsallama,
the Normal,
Matthew Halsall,
Procol Harum,
Fugazi,
Prince Buster,
Todd Rundgren,
Ituana,
The Durutti Column,
The Fall,
Jeru the Damaja,
the Sonics,
DeepChord presents Echospace,
Notorious BIG live in Amsterdam,
Crispian St. Peters,
The Velvet Underground,
Nation of Ulysses,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bobby Womack,
Anakelly,
Orchestral Manoeuvres in the Dark,
UT,
Boogie Down Productions,
Roy Ayers,
Idris Muhammad,
Justin Hinds & The Dominoes,
The Gories,
Gang Starr,
Howard Jones,
Siglo XX,
Crime,
Dennis Brown,
David McCallum,
Stereo Dub,
ABBA,
Deepchord,
48th St. Collective,
Jimmy McGriff,
Erykah Badu,
Toni Rubio,
Sun Ra Arkestra,
John Cale,
Sonic Youth,
Sandy B,
Leonard Cohen,
The Evens,
Parry Music,
Loose Ends,
The Electric Prunes,
Khruangbin,
Simply Red,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.