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 Barbados and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lille and Shanghai.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the harpsichord 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 Electric Light Orchestra to the electroclash kids.
I played it at the Astoria.
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 Ken Boothe. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Gang of Four 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
A Flock of Seagulls,
Deutsch Amerikanische Freundschaft,
Gong,
KRS-One,
Pharoah Sanders,
Warren Ellis,
Stereo Dub,
FM Einheit,
Shoche,
Metal Thangz,
Terry Callier,
Yaz,
Clear Light,
Kerri Chandler,
Q and Not U,
Mission of Burma,
Urselle,
Mad Mike,
Andrew Ashong & Theo Parrish,
The Beau Brummels,
Jeru the Damaja,
Joensuu 1685,
Colin Newman,
Skriet,
Fela Kuti,
Mandrill,
Neu!,
The United States of America,
Quando Quango,
ABC,
Country Joe & The Fish,
Guru Guru,
Althea and Donna,
Brass Construction,
Minor Threat,
Loose Ends,
The Saints,
Terrestrial Tones,
Rod Modell,
Harpers Bizarre,
the Swans,
Ohio Players,
Cabaret Voltaire,
This Heat,
The Seeds,
Moss Icon,
The Misunderstood,
Electric Prunes,
Alton Ellis,
Scan 7,
Beasts of Bourbon,
The Pretty Things,
The Trojans,
Severed Heads,
Roy Ayers,
The Cowsills,
Rahsaan Roland Kirk,
Rowland S Howard / Lydia Lunch,
Gabor Szabo,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.