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 Israel and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Glasgow 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 marimba 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 Scratch Acid to the techno kids.
I played it at the Crocodile.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal rock 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Marc Almond,
Second Layer,
The Smoke,
The Music Machine,
The Fuzztones,
Ultra Naté,
The Gladiators,
The Trojans,
Interpol,
Traffic Nightmare,
Curtis Mayfield,
Visage,
Pharaoh Sanders and the Fire Engines,
R.M.O.,
John Coltrane,
Youth Brigade,
Dawn Penn,
F. McDonald,
Dual Sessions,
Junior Murvin,
Jeff Lynne,
Big Daddy Kane,
Angry Samoans,
Jeff Mills,
Sexual Harrassment,
The Monochrome Set,
Patti Smith,
Fifty Foot Hose,
Magazine,
KRS-One,
Flamin' Groovies,
E-Dancer,
Cal Tjader,
Eve St. Jones,
Alison Limerick,
Barbara Tucker,
Lebanon Hanover,
Aaron Thompson,
The Human League,
Kayak,
Erasure,
X-101,
Rhythm & Sound,
Dark Day,
New Order,
Public Enemy,
Unrelated Segments,
Young Marble Giants,
Kings Of Tomorrow,
Nils Olav,
Aloha Tigers,
Godley & Creme,
Black Pus,
Mandrill,
Black Flag,
Lalo Schifrin,
Au Pairs,
Radiopuhelimet,
The Slackers,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.