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 Nigeria and from Cairo.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Salvador 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 sitar 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 The Happenings to the electroclash kids.
I played it at Trash.
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 Rosa Yemen. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every The Five Americans 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Amon Düül II,
Laurel Aitken,
Andrew Hill,
Gregory Isaacs,
The Offenders,
Siglo XX,
Aural Exciters,
Quantec,
Red Lorry Yellow Lorry,
Tres Demented,
The Velvet Underground,
Marc Almond,
Moebius,
June of 44,
Jacob Miller,
Grey Daturas,
Young Marble Giants,
Deakin,
Bauhaus,
Joe Smooth,
Angels of Light & Akron/Family,
Sunsets and Hearts,
Aaron Thompson,
Flipper,
Warsaw,
Terrestrial Tones,
Ten City,
Donny Hathaway,
Brothers Johnson,
H. Thieme,
Rakim,
Eric Dolphy,
Khruangbin,
K-Klass,
Mars,
Danielle Patucci,
Barclay James Harvest,
Zero Boys,
Bluetip,
Marshall Jefferson,
Anthony Braxton,
Lee Hazlewood,
Lakeside,
Marine Girls,
The New Christs,
Soul II Soul,
Lalann,
Alice Coltrane,
Tim Buckley,
Joensuu 1685,
Scion,
Pagans,
Fluxion,
Von Mondo,
Ossler,
Panda Bear,
Harpers Bizarre,
Rekid,
Minor Threat,
Parry Music,
The Sonics,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.