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 Malawi 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 1968 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Delhi.
I'm losing my edge to the art-school Accra 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 The Gladiators to the grunge kids.
I played it at the Troubador.
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 Roy Ayers Ubiquity. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every The Cramps record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters 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?
Kayak,
E-Dancer,
Lonnie Liston Smith,
Faraquet,
Panda Bear,
Bob Dylan,
Quadrant,
Cybotron,
The Monks,
Avey Tare,
The Music Machine,
Yusef Lateef,
Piero Umiliani,
Ken Boothe,
Fifty Foot Hose,
John Lydon,
Tres Demented,
Sixth Finger,
Camouflage,
Maleditus Sound,
Hashim,
Bootsy's Rubber Band,
The Moleskins,
The Stooges,
Minny Pops,
The Real Kids,
Technova,
Cameo,
The Doors,
Malaria!,
La Düsseldorf,
The Birthday Party,
the Bar-Kays,
Oblivians,
Lyres,
Masters at Work,
The Selecter,
The Gap Band,
Alton Ellis,
Absolute Body Control,
Ultramagnetic MC's,
Sun City Girls,
Rufus Thomas,
Whodini,
Nas,
Fad Gadget,
Bobby Byrd,
the Swans,
Cymande,
Amon Düül,
Tommy Roe,
Grandmaster Flash,
Jerry's Kids,
Scott Walker,
Magma,
10cc,
Kool Moe Dee,
Todd Terry,
Von Mondo,
Bronski Beat,
Ronan,
Ultravox, Ultravox, Ultravox, Ultravox.
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.