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 Togo and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school Stockholm 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 The Walker Brothers to the electroclash kids.
I played it at the Hacienda.
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 The Fugs. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Mandrill 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Chrome,
Suburban Knight,
Soul II Soul,
Reuben Wilson,
The Trojans,
Icehouse,
Alison Limerick,
The Fugs,
Black Sheep,
The Sisters of Mercy,
Infiniti,
Camron Feat. Memphis Bleek And Beenie Seigel,
Althea and Donna,
The J.B.'s,
Zapp,
The Stooges,
The Techniques,
Cheater Slicks,
Connie Case,
Siglo XX,
Barclay James Harvest,
Deutsch Amerikanische Freundschaft,
Anthony Braxton,
E-Dancer,
Heaven 17,
DeepChord presents Echospace,
Cecil Taylor,
Avey Tare,
The Blues Magoos,
Arcadia,
Technova,
Orchestral Manoeuvres in the Dark,
Joey Negro,
Notorious Big And Bone Thugs,
Fat Boys,
Quadrant,
Supertramp,
Magma,
Model 500,
The Slits,
The Dave Clark Five,
Gerry Rafferty,
Outsiders,
In Retrospect,
Black Moon,
Albert Ayler,
The Martian,
Nation of Ulysses,
Tomorrow,
Spandau Ballet,
Grandmaster Flash and the Furious Five,
Erykah Badu,
Prince Buster,
The Cosmic Jokers,
Davy DMX,
Larry & the Blue Notes,
Funky Four + One,
Mission of Burma,
Silicon Teens,
Electric Light Orchestra,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.