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 Bahamas and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 Flamin' Groovies to the jazz kids.
I played it at the Crocodile.
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 Alice Coltrane. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Ossler,
Eve St. Jones,
cv313,
Joe Finger,
The Skatalites,
Underground Resistance,
R.M.O.,
The Evens,
Visage,
PIL,
Livin' Joy,
the Soft Cell,
H. Thieme,
The Flesh Eaters,
Jeff Mills,
Iggy Pop,
The Wake,
Agent Orange,
Spandau Ballet,
ABC,
EPMD,
Zero Boys,
Half Japanese,
The Seeds,
Frankie Knuckles,
Kango’s Stein Massive,
Thompson Twins,
Echospace,
Interpol,
Patti Smith,
Eyeless In Gaza,
Nirvana,
The Red Krayola,
Crispy Ambulance,
The Modern Lovers,
Subhumans,
Essential Logic,
F. McDonald,
Max Romeo,
Lee Hazlewood,
Rhythm & Sound,
Peter & Gordon,
The Move,
Major Organ And The Adding Machine,
Unwound,
Shoche,
DJ Style,
Q65,
Sly & The Family Stone,
The Moleskins,
Lou Reed,
the Fania All-Stars,
Eric Copeland,
Angry Samoans,
The Tremeloes,
Scott Walker + Sunn O))),
Sad Lovers and Giants,
New York Dolls,
Bronski Beat,
Joe Smooth,
Shuggie Otis,
Rites of Spring,
The Smoke, The Smoke, The Smoke, The Smoke.
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.