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 Solomon Islands and from Columbus.
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 Columbus and New York.
I'm losing my edge to the art-school Manchester 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 MDC to the jazz kids.
I played it at CBGB's.
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 Television Personalities. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. 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?
Magma,
PIL,
Bobby Hutcherson,
The Barracudas,
Symarip,
JFA,
Junior Murvin,
Gil Scott Heron,
Royal Trux,
Livin' Joy,
These Immortal Souls,
Eyeless In Gaza,
Basic Channel,
DeepChord presents Echospace,
Crime,
The Five Americans,
Tubeway Army,
Neu!,
Lakeside,
Easy Going,
Bauhaus,
Lower 48,
Can,
Fatback Band,
Sunsets and Hearts,
Stiv Bators,
Ultravox,
cv313,
Q65,
Kayak,
Cameo,
Rufus Thomas,
Eddi Front,
Rosa Yemen,
Cecil Taylor,
Juan Atkins,
Quantec,
Godley & Creme,
Sonic Youth,
Josef K,
Wings,
Surgeon,
Yusef Lateef,
Bobby Byrd,
Scratch Acid,
Pole,
H. Thieme,
Wally Richardson,
The Chocolate Watch Band,
Charles Mingus,
Amazonics,
Simply Red,
Fela Kuti,
Accadde A,
Qualms,
Sugar Minott,
Hot Snakes,
Rod Modell,
Icehouse,
Visage,
Talk Talk,
The Electric Prunes,
Notorious Big And Bone Thugs,
The Moleskins,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.