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 Cameroon and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1977.
I'm losing my edge.
To all the kids in Manchester and Columbus.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Bang On A Can to the rap kids.
I played it at Cafe Wha.
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 Roxette. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Hoover 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Tim Buckley,
Quadrant,
Davy DMX,
Soft Machine,
Bobby Hutcherson,
Oppenheimer Analysis,
Mo-Dettes,
The Names,
Dark Day,
Altered Images,
Donald Byrd,
The Wake,
The Leaves,
Scientists,
Easy Going,
DJ Sneak,
Gang Gang Dance,
Lungfish,
Absolute Body Control,
Television,
Drexciya,
the Normal,
EPMD,
Henry Cow,
Little Man,
Mandrill,
The Vogues,
Cameo,
Wighnomy Brothers & Robag Wruhme,
Skaos,
Pole,
Cal Tjader,
New York Dolls,
Soul II Soul,
Nas,
CMW,
Public Enemy,
Jandek,
Negative Approach,
Alison Limerick,
John Lydon,
The Fall,
Lakeside,
Lalo Schifrin,
Panda Bear,
Mad Mike,
Pete Rock & C.L. Smooth,
Loose Ends,
Bad Manners,
Roxy Music,
One Last Wish,
the Soft Cell,
Royal Trux,
Terrestrial Tones,
The Happenings,
Sad Lovers and Giants,
Scrapy,
DNA,
Ronan,
JFA,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.