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 Armenia and from Philadelphia.
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 1975.
I'm losing my edge.
To all the kids in London and Glasgow.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Lou Reed & John Cale to the crunk 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 Amon Düül II. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Ludus,
Patti Smith,
The Skatalites,
The Martian,
James White and The Blacks,
DNA,
Hardrive,
Echo & the Bunnymen,
Godley & Creme,
The Shadows of Knight,
Organ,
Al Stewart,
Slave,
Colin Newman,
Laurel Aitken,
Chris Corsano,
Motorama,
David Axelrod,
D'Angelo,
Rekid,
Barclay James Harvest,
Bootsy Collins,
Tears for Fears,
Donny Hathaway,
Khruangbin,
Jerry Gold Smith,
Chris & Cosey,
The Victims,
Bill Wells,
Reuben Wilson,
Neu!,
Yellowson,
The Count Five,
Brand Nubian,
The Searchers,
Mission of Burma,
Easy Going,
Country Joe & The Fish,
Andrew Ashong & Theo Parrish,
London Community Gospel Choir,
Don Cherry,
Thee Headcoats,
Roger Hodgson,
Liliput,
The Velvet Underground,
Youth Brigade,
Johnny Osbourne,
The Sisters of Mercy,
Qualms,
Neil Young,
Lou Reed,
Kas Product,
Model 500,
Newcleus,
Howard Jones,
Black Sheep,
Faraquet,
Agent Orange,
Marc Almond,
Index,
Visage,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.