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 Norway and from Tehran.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Taipei and Winnipeg.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Joensuu 1685 to the grunge kids.
I played it at CBGB's.
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 Urselle. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Quando Quango 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
T.S.O.L.,
Sun Ra Arkestra,
The Gories,
Main Source,
Suburban Knight,
Dark Day,
Tom Boy,
Deepchord,
The Sonics,
Black Pus,
The Doors,
Camouflage,
Electric Light Orchestra,
Ultravox,
Newcleus,
Bobby Sherman,
Howard Jones,
the Human League,
Gastr Del Sol,
Ossler,
Excepter,
Grey Daturas,
Peter & Gordon,
Marc Almond,
Animal Collective,
New York Dolls,
Marvin Gaye,
The Misunderstood,
DJ Sneak,
Clear Light,
The Dirtbombs,
Cameo,
Art Ensemble Of Chicago,
Agent Orange,
Sarah Menescal,
The Divine Comedy,
Anthony Braxton,
Bobby Womack,
The Walker Brothers,
A Flock of Seagulls,
Lakeside,
Procol Harum,
Drive Like Jehu,
Babytalk,
The Leaves,
Mission of Burma,
Liaisons Dangereuses,
The Busters,
Rahsaan Roland Kirk,
Deakin,
Whodini,
Pantytec,
Gichy Dan,
Con Funk Shun,
Godley & Creme,
Japan,
the Soft Cell,
Liliput,
Vaughan Mason & Crew,
China Crisis,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.