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 Vietnam and from Hong Kong.
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 1972.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school Lyon 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 Susan Cadogan to the grime kids.
I played it at the Spitz.
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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Skriet 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Camouflage,
Graham Central Station,
Susan Cadogan,
The Fortunes,
Thee Headcoats,
Tres Demented,
Brass Construction,
Cluster,
Arcadia,
Skriet,
Sly & The Family Stone,
Groovy Waters,
The Fire Engines,
Unrelated Segments,
The Smoke,
Gil Scott-Heron & Brian Jackson,
Jeru the Damaja,
Freddie Wadling,
The Neon Judgement,
Thompson Twins,
Ituana,
Section 25,
Matthew Bourne,
Sonny Sharrock,
Jacob Miller,
Con Funk Shun,
Grandmaster Flash,
Scion,
Colin Newman,
The Jesus and Mary Chain,
Albert Ayler,
London Community Gospel Choir,
Derrick Morgan,
Ornette Coleman,
Mary Jane Girls,
Jesper Dahlback,
The Detroit Cobras,
Subhumans,
Joensuu 1685,
Larry & the Blue Notes,
In Retrospect,
Angry Samoans,
Pylon,
The Sound,
Anakelly,
Public Image Ltd.,
Gian Franco Pienzio,
Bizarre Inc.,
The Doors,
Kaleidoscope,
Shoche,
Gerry Rafferty,
Ohio Players,
The Last Poets,
The Victims,
Camron Feat. Jay Z And Juelz,
Be Bop Deluxe,
Michelle Simonal,
Marvin Gaye,
Niagra,
Derrick May, Derrick May, Derrick May, Derrick May.
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.