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 Argentina and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1978.
I'm losing my edge.
To all the kids in Cairo and Bologna.
I'm losing my edge to the art-school Lille 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Heaven 17 to the punk kids.
I played it at the Astoria.
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 Minny Pops tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Oppenheimer Analysis,
Eric Dolphy,
Scott Walker + Sunn O))),
Joey Negro,
New York Dolls,
London Community Gospel Choir,
In Retrospect,
Derrick May,
Todd Terry,
Throbbing Gristle,
Tomorrow,
The Mojo Men,
The Techniques,
Echo & the Bunnymen,
Rakim,
It's A Beautiful Day,
Interpol,
Juan Atkins,
Black Moon,
The Shadows of Knight,
Colin Newman,
Black Pus,
Andrew Ashong & Theo Parrish,
Swell Maps,
Anthony Braxton,
Jawbox,
Gerry Rafferty,
Kevin Saunderson,
Motorama,
Pantaleimon,
Kerri Chandler,
a-ha,
Babytalk,
Matthew Halsall,
Dark Day,
The Tremeloes,
Notorious BIG live in Amsterdam,
Bauhaus,
Sparks,
Boredoms,
Morten Harket,
Eli Mardock,
The American Breed,
Cluster,
Dead Boys,
Hoover,
Todd Rundgren,
Crime,
Sexual Harrassment,
Mo-Dettes,
Glambeats Corp.,
Scratch Acid,
Cameo,
Derrick Morgan,
The Zeros,
Camron Feat. Jay Z And Juelz,
Ossler,
Alison Limerick,
Bang On A Can,
Godley & Creme,
Prince Buster,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.