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 Tajikistan and from Portland.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Lyon.
I'm losing my edge to the art-school Manchester 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the oboe 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 Ponytail to the crunk 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 Amon Düül. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Gil Scott Heron 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lungfish,
Tim Buckley,
Newcleus,
Godley & Creme,
Electric Light Orchestra,
D'Angelo,
John Holt,
The Mighty Diamonds,
K-Klass,
Kevin Saunderson,
The Fire Engines,
Ludus,
The Vogues,
Reuben Wilson,
Gil Scott-Heron and Jamie xx,
The Doors,
Visage,
Suicide,
Vainqueur,
The Pop Group,
The Offenders,
Anthony Braxton,
Avey Tare's Slasher Flicks,
Letta Mbulu,
Fluxion,
Mary Jane Girls,
Vaughan Mason & Crew,
Jerry's Kids,
Blancmange,
JFA,
Lou Reed & Metallica,
Sound Behaviour,
Sight & Sound,
Be Bop Deluxe,
The Modern Lovers,
Joe Smooth,
The Chocolate Watch Band,
The Happenings,
The Blues Magoos,
8 Eyed Spy,
The Martian,
FM Einheit,
Robert Hood,
Yellowson,
Little Man,
Sad Lovers and Giants,
Eden Ahbez,
Intrusion,
Grauzone,
Blake Baxter,
The Saints,
Quadrant,
Scan 7,
Rod Modell,
Glambeats Corp.,
the Fania All-Stars,
Roy Ayers,
Henry Cow,
Kerrie Biddell,
Tres Demented,
Johnny Osbourne,
Howard Jones,
Dark Day,
Organ, Organ, Organ, Organ.
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.