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 Macedonia and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Manchester and Toronto.
I'm losing my edge to the art-school Tokyo 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 Ornette Coleman to the disco 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 the Slits. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Michelle Simonal 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker + Sunn O))) record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
Organ,
Avey Tare,
Colin Newman,
Niagra,
Rosa Yemen,
Nils Olav,
Neu!,
D'Angelo,
Kool Moe Dee,
Lakeside,
Sunsets and Hearts,
The Birthday Party,
The Black Dice,
Super Lover Cee & Casanova Rud,
Pylon,
Warren Ellis,
The Techniques,
Joensuu 1685,
Pagans,
The Invisible,
James Chance & The Contortions,
Skriet,
DNA,
Kenny Larkin,
Animal Collective,
Gabor Szabo,
Grandmaster Flash and the Furious Five,
Circle Jerks,
Godley & Creme,
Eric Copeland,
Dr. Dre and Snoop Doggy Dog,
Pharaoh Sanders and the Fire Engines,
Funkadelic,
the Human League,
Brick,
London Community Gospel Choir,
Zero Boys,
The Zeros,
Ajijia Myrayebe,
Public Image Ltd.,
Make Up,
Marshall Jefferson,
Pantytec,
Ohio Players,
Scott Walker + Sunn O))),
The Modern Lovers,
Bizarre Inc.,
the Association,
L. Decosne,
Radiopuhelimet,
Jacques Brel,
Country Joe & The Fish,
The Beau Brummels,
Gerry Rafferty,
Soul Sonic Force,
Roy Ayers Ubiquity,
Tropical Tobacco,
Deakin,
Zapp,
Pussy Galore,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.