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 Panama and from Delhi.
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 1978.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum 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 Scratch Acid to the jazz kids.
I played it at the 40 Watt.
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 Deakin. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Surgeon 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 '70s.
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 Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Fluxion,
Bobby Sherman,
Ornette Coleman,
Bush Tetras,
Selector Dub Narcotic,
The Litter,
Louis and Bebe Barron,
Girls At Our Best!,
Kango’s Stein Massive,
Groovy Waters,
Main Source,
Sight & Sound,
Negative Approach,
Sällskapet,
Darondo,
The Birthday Party,
The Residents,
Funky Four + One,
Skarface,
The Shadows of Knight,
Ash Ra Tempel,
Royal Trux,
Surgeon,
The Flesh Eaters,
Art Ensemble Of Chicago,
Joyce Sims,
Bauhaus,
Newcleus,
Pere Ubu,
ABC,
The Slackers,
Urselle,
Don Cherry,
Lightning Bolt,
Rosa Yemen,
Blake Baxter,
Liaisons Dangereuses,
June Days,
Camron Feat. Jay Z And Juelz,
D'Angelo,
Fear,
Shuggie Otis,
The Skatalites,
Rites of Spring,
Amon Düül,
Lower 48,
Bang on a Can All-Stars,
8 Eyed Spy,
Can,
Goldenarms,
Oppenheimer Analysis,
Clear Light,
Albert Ayler,
Curtis Mayfield,
Porter Ricks,
Glenn Branca,
Bobbi Humphrey,
Lonnie Liston Smith,
Ultravox, Ultravox, Ultravox, Ultravox.
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.