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 St Lucia and from Lyon.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Mexico City and New York.
I'm losing my edge to the art-school Stockholm 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 linndrum 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 Crime to the punk 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 Charles Mingus. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every The Selecter 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lalo Schifrin record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Organ,
James White and The Blacks,
DeepChord presents Echospace,
Sparks,
Massinfluence,
X-102,
Mary Jane Girls,
Chris Corsano,
Gil Scott-Heron & Brian Jackson,
Alphaville,
The Wake,
Procol Harum,
Selector Dub Narcotic,
Blancmange,
Vainqueur,
Nation of Ulysses,
Colin Newman,
Sad Lovers and Giants,
Toni Rubio,
Kevin Saunderson,
Adolescents,
Jerry's Kids,
Black Pus,
Ash Ra Tempel,
Leonard Cohen,
Barry Ungar,
The Move,
China Crisis,
The Sonics,
Major Organ And The Adding Machine,
The Fuzztones,
Wire,
Oppenheimer Analysis,
Harmonia,
June Days,
Reuben Wilson,
Amazonics,
Vaughan Mason & Crew,
The Selecter,
Angels of Light & Akron/Family,
Slave,
UT,
Nils Olav,
The Blackbyrds,
Essential Logic,
Suburban Knight,
Lee Hazlewood,
Skaos,
Cymande,
Circle Jerks,
Severed Heads,
Scion,
K-Klass,
Arab on Radar,
Easy Going,
The Young Rascals,
The Gories,
Hardrive,
Pete Rock & C.L. Smooth,
Robert Hood,
Lou Christie,
Glenn Branca,
The Chocolate Watch Band,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.