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 Norway and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 London and Cairo.
I'm losing my edge to the art-school Shanghai 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 synthesizer 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 Jacques Brel to the rap 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 Ultimate Spinach. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
David Axelrod,
Can,
Notorious BIG live in Amsterdam,
Moss Icon,
Eurythmics,
DeepChord presents Echospace,
Avey Tare,
Brick,
Con Funk Shun,
Magma,
Pere Ubu,
Mark Hollis,
Underground Resistance,
Rosa Yemen,
F. McDonald,
Andrew Ashong & Theo Parrish,
Supertramp,
Fatback Band,
Chris & Cosey,
Qualms,
The Wake,
Josef K,
Banda Bassotti,
UT,
Richard Hell and the Voidoids,
Sun Ra Arkestra,
Skriet,
Donald Byrd,
Suicide,
Lafayette Afro Rock Band,
Dorothy Ashby,
Jeff Lynne,
Eric Dolphy,
The Music Machine,
Pierre Henry,
Shoche,
Chrome,
Wasted Youth,
Grandmaster Flash,
Pharoah Sanders,
The Doors,
Quando Quango,
Sun Ra,
Frankie Knuckles,
Bang On A Can,
Alton Ellis,
The Moleskins,
Tubeway Army,
Jesper Dahlback,
Camron Feat. Jay Z And Juelz,
Minnie Riperton,
Outsiders,
Gabor Szabo,
a-ha,
Brass Construction,
Wighnomy Brothers & Robag Wruhme,
ABC,
Mad Mike,
10cc,
The Remains,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.