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 Thailand and from Seoul.
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 1975.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Spokane 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the theremin 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 Nation of Ulysses to the dance kids.
I played it at the Astoria.
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 Tropical Tobacco. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Thompson Twins 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 '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Hoover,
Big Daddy Kane,
Susan Cadogan,
Ultimate Spinach,
Kaleidoscope,
Yusef Lateef,
Gil Scott Heron,
Black Moon,
Fifty Foot Hose,
Juan Atkins,
Fear,
The Cosmic Jokers,
10cc,
Darondo,
Steve Hackett,
Kool G Rap & DJ Polo,
Donald Byrd,
Roger Hodgson,
Traffic Nightmare,
Notorious Big And Bone Thugs,
Suicide,
Altered Images,
48th St. Collective,
Amazonics,
Television,
Camouflage,
Angels of Light & Akron/Family,
Underground Resistance,
Rotary Connection,
Black Flag,
Black Sheep,
Tomorrow,
Subhumans,
Japan,
Eurythmics,
The Smoke,
The Men They Couldn't Hang,
Camberwell Now,
Dave Gahan,
Lebanon Hanover,
Magma,
Pharoah Sanders,
The Buckinghams,
Rosa Yemen,
Gil Scott-Heron and Jamie xx,
The New Christs,
Wings,
Nils Olav,
Excepter,
F. McDonald,
China Crisis,
Shuggie Otis,
Minor Threat,
Funky Four + One,
Marc Romboy vs. Booka Shade,
Jesper Dahlback,
Johnny Osbourne,
John Holt,
Art Ensemble Of Chicago,
Ajijia Myrayebe,
Accadde A,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.