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 Greece and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Paris and Columbus.
I'm losing my edge to the art-school Halifax 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 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 The Moody Blues to the electroclash kids.
I played it at the Roxy.
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 Gabor Szabo. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
The Doors,
The Associates,
DJ Style,
Camberwell Now,
Terry Callier,
Anakelly,
The Golliwogs,
Delta 5,
Deakin,
Hardrive,
Talk Talk,
Rekid,
Desert Stars,
The Cramps,
Underground Resistance,
The Motions,
Bizarre Inc.,
the Sonics,
The Modern Lovers,
The Slackers,
Hot Snakes,
The Busters,
The Shadows of Knight,
Ituana,
Amon Düül,
Ralphi Rosario,
Parry Music,
Lalann,
Ajijia Myrayebe,
Chris Corsano,
Danielle Patucci,
Lightning Bolt,
The Blackbyrds,
Sunsets and Hearts,
Kool G Rap & DJ Polo,
John Cale,
Marcia Griffiths,
Quantec,
Derrick May,
The Count Five,
The Alarm Clocks,
KRS-One,
Oneida,
The Move,
Soul II Soul,
the Human League,
Visage,
Judy Mowatt,
Vainqueur,
Susan Cadogan,
The Knickerbockers,
Porter Ricks,
Lafayette Afro Rock Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lee Hazlewood,
Masters at Work,
Yazoo,
The Pretty Things,
Ken Boothe,
Althea and Donna,
Second Layer,
The Moody Blues,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.