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 Ireland and from Taipei.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Woodstock 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 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 Blackbyrds to the disco kids.
I played it at the 40 Watt.
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 London Community Gospel Choir. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Soft Cell,
Art Ensemble Of Chicago,
Flipper,
Funkadelic,
Main Source,
Wings,
Spandau Ballet,
Alton Ellis,
Severed Heads,
The Doobie Brothers,
Lonnie Liston Smith,
Richard Hell and the Voidoids,
Rosa Yemen,
Avey Tare & Kría Brekkan,
Oppenheimer Analysis,
Scott Walker + Sunn O))),
Zero Boys,
Aural Exciters,
Bad Manners,
The Saints,
cv313,
Vladislav Delay,
Radiohead,
PIL,
Cal Tjader,
Masters at Work,
Lakeside,
Lyres,
Kings Of Tomorrow,
Los Fastidios,
The Misunderstood,
Bobby Womack,
the Normal,
Skarface,
Alphaville,
Angels of Light & Akron/Family,
The Move,
Juan Atkins,
Captain Beefheart & His Magic Band,
Bill Near,
Average White Band,
Sarah Menescal,
Pagans,
Bobbi Humphrey,
Eden Ahbez,
Babytalk,
Aloha Tigers,
The Dead C,
Sun Ra Arkestra,
Ash Ra Tempel,
Röyhkä ja Rättö ja Lehtisalo,
Brick,
Shuggie Otis,
Saccharine Trust,
Lou Reed & Metallica,
Neil Young,
Bobby Hutcherson,
Black Sheep,
The Sound,
Sixth Finger,
The Kinks,
The Searchers, The Searchers, The Searchers, The Searchers.
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.