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 Kenya and from Woodstock.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Monks to the crunk kids.
I played it at the Roxy.
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 Brick. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Ultra Naté,
Spandau Ballet,
One Last Wish,
Newcleus,
Joyce Sims,
Eve St. Jones,
New Order,
the Fania All-Stars,
Brick,
Dark Day,
Panda Bear,
This Heat,
Sugar Minott,
Aloha Tigers,
The Alarm Clocks,
Gregory Isaacs,
Easy Going,
Rakim,
The Golliwogs,
Brothers Johnson,
Maurizio,
Black Moon,
Sly & The Family Stone,
The Vogues,
Trumans Water,
Barrington Levy,
Dawn Penn,
Johnny Osbourne,
Second Layer,
Lizzy Mercier Descloux,
Letta Mbulu,
Derrick May,
Television Personalities,
Funkadelic,
Kerrie Biddell,
Dual Sessions,
Scott Walker + Sunn O))),
R.M.O.,
Moebius,
Joe Smooth,
E-Dancer,
The Durutti Column,
Ponytail,
Saccharine Trust,
Tim Buckley,
The Victims,
John Cale,
Subhumans,
Bad Manners,
The Modern Lovers,
Icehouse,
The Fall,
The Evens,
Youth Brigade,
Mad Mike,
the Association,
Strawberry Alarm Clock,
Minutemen,
De La Soul & Jungle Brothers,
Tres Demented,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.