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 Vietnam and from Columbus.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Rahsaan Roland Kirk to the techno kids.
I played it at the Hacienda.
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 Todd Terry. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every The Doobie Brothers 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Nick Fraelich record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
The Dave Clark Five,
Davy DMX,
Rahsaan Roland Kirk,
Radiopuhelimet,
Marcia Griffiths,
Idris Muhammad,
Oblivians,
MDC,
Todd Terry,
Juan Atkins,
PIL,
Lindisfarne,
Hoover,
The Durutti Column,
The Golliwogs,
Los Fastidios,
Subhumans,
Sister Nancy,
the Slits,
Liaisons Dangereuses,
Orchestral Manoeuvres in the Dark,
Cal Tjader,
Parry Music,
The Doors,
Mandrill,
Model 500,
10cc,
Buzzcocks,
Nirvana,
The Kinks,
Dawn Penn,
Gil Scott Heron,
Heavy D & The Boyz,
Tres Demented,
Gang Starr,
Grandmaster Flash,
Eve St. Jones,
Sly & The Family Stone,
Jesper Dahlbäck,
Ponytail,
Ash Ra Tempel,
Shuggie Otis,
Bang On A Can,
Sparks,
The Wake,
The Divine Comedy,
Man Eating Sloth,
Audionom,
Bang on a Can All-Stars,
Robert Hood,
New Order,
Black Flag,
Terrestrial Tones,
Super Lover Cee & Casanova Rud,
Blancmange,
Letta Mbulu,
UT,
Man Parrish,
Strawberry Alarm Clock,
Gil Scott-Heron and Jamie xx,
Half Japanese,
Das Ding,
Scrapy, Scrapy, Scrapy, Scrapy.
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.