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 Samoa and from Tokyo.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Calgary and Houston.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Alton Ellis to the grime kids.
I played it at Trash.
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 Sugar Minott. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Wasted Youth,
DNA,
Underground Resistance,
In Retrospect,
The Modern Lovers,
CMW,
The Fugs,
Ronan,
The Electric Prunes,
Mars,
The Slits,
Arcadia,
Banda Bassotti,
Lou Christie,
It's A Beautiful Day,
A Flock of Seagulls,
Essential Logic,
The Moleskins,
Funky Four + One,
Soul Sonic Force,
The Cosmic Jokers,
Bootsy's Rubber Band,
Fluxion,
Sun Ra,
London Community Gospel Choir,
Alton Ellis,
The Mummies,
Kerrie Biddell,
New York Dolls,
Urselle,
Icehouse,
Ronnie Foster,
Bill Near,
The Monks,
The Residents,
B.T. Express,
Bang On A Can,
Bush Tetras,
Groovy Waters,
Chris Corsano,
The Velvet Underground,
Ohio Players,
Negative Approach,
Notorious BIG live in Amsterdam,
Junior Murvin,
Radiopuhelimet,
Minor Threat,
Jeff Mills,
The Grass Roots,
Neu!,
Orchestral Manoeuvres in the Dark,
Glenn Branca,
Joyce Sims,
Stereo Dub,
Harmonia,
Zero Boys,
Simply Red,
Eurythmics,
DeepChord presents Echospace,
Blake Baxter,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.