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 Congo 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 1966 to 1979.
I'm losing my edge.
To all the kids in Milan and Bologna.
I'm losing my edge to the art-school Philadelphia 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Main Source to the grime 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 DNA. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Sarah Menescal 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
The New Christs,
Brass Construction,
Red Lorry Yellow Lorry,
Donny Hathaway,
Rahsaan Roland Kirk,
Stockholm Monsters,
The Invisible,
The Gun Club,
a-ha,
Faraquet,
Graham Central Station,
The United States of America,
EPMD,
Eurythmics,
Gil Scott-Heron & Brian Jackson,
Arthur Verocai,
The Dirtbombs,
Danielle Patucci,
Nico,
Joy Division,
Major Organ And The Adding Machine,
Basic Channel,
Laurel Aitken,
Eve St. Jones,
Josef K,
Rakim,
Stetsasonic,
Lakeside,
Talk Talk,
Bobby Hutcherson,
The Slackers,
Lonnie Liston Smith,
Lungfish,
UT,
The Moody Blues,
X-102,
Severed Heads,
Technova,
Nik Kershaw,
Ultravox,
Soft Cell,
Rotary Connection,
The Cowsills,
Pole,
Lalo Schifrin,
Hot Snakes,
Gabor Szabo,
Barrington Levy,
The Mojo Men,
Sun Ra Arkestra,
Kerri Chandler,
Mandrill,
Brick,
Echospace,
Matthew Bourne,
The Monochrome Set,
Loose Ends,
Adolescents,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.