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 Fiji and from Houston.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Unrelated Segments to the techno kids.
I played it at CBGB's.
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 Interpol. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
the Bar-Kays,
The Standells,
Nik Kershaw,
Tres Demented,
Camberwell Now,
Justin Hinds & The Dominoes,
Swell Maps,
Jimmy McGriff,
DJ Sneak,
Dark Day,
Brass Construction,
Matthew Halsall,
Kurtis Blow,
Ultravox,
Echo & the Bunnymen,
Andrew Hill,
World's Most,
Delon & Dalcan,
a-ha,
Electric Light Orchestra,
Interpol,
Avey Tare & Kría Brekkan,
John Coltrane,
DJ Style,
Aural Exciters,
Stereo Dub,
Louis and Bebe Barron,
New Order,
Sparks,
Scrapy,
John Holt,
Bobbi Humphrey,
Eve St. Jones,
Leonard Cohen,
Ralphi Rosario,
The Golliwogs,
Sun Ra Arkestra,
Judy Mowatt,
The Pop Group,
Alison Limerick,
Jerry's Kids,
Joey Negro,
L. Decosne,
Kool Moe Dee,
Sandy B,
FM Einheit,
the Fania All-Stars,
Dennis Brown,
The Moody Blues,
Wasted Youth,
Red Lorry Yellow Lorry,
Saccharine Trust,
Spoonie Gee,
Public Enemy,
OOIOO,
Joe Finger,
Bobby Womack,
Bill Near,
The Smiths,
The Cure, The Cure, The Cure, The Cure.
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.