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 Colombia and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Gichy Dan 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 Wings. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
The Vogues,
Qualms,
Nico,
Sly & The Family Stone,
Steve Hackett,
Morten Harket,
Aural Exciters,
Depeche Mode,
Marc Romboy vs. Booka Shade,
New Order,
Essential Logic,
Maleditus Sound,
Minnie Riperton,
Brass Construction,
Art Ensemble Of Chicago,
Section 25,
Pussy Galore,
Spoonie Gee,
The Five Americans,
Sugar Minott,
U.S. Maple,
Warren Ellis,
Joe Smooth,
Negative Approach,
Super Lover Cee & Casanova Rud,
Thinking Fellers Union Local 282,
The Doobie Brothers,
Beasts of Bourbon,
Henry Cow,
Captain Beefheart & His Magic Band,
Warsaw,
OOIOO,
Camberwell Now,
Ornette Coleman,
The Names,
The Slits,
Pylon,
The Neon Judgement,
Kerrie Biddell,
In Retrospect,
The Alarm Clocks,
The Barracudas,
the Fania All-Stars,
Amazonics,
Stockholm Monsters,
Nick Fraelich,
Quando Quango,
Porter Ricks,
DJ Style,
Amon Düül,
Yaz,
Rowland S Howard / Lydia Lunch,
Swell Maps,
Notorious Big And Bone Thugs,
Fugazi,
The Skatalites,
The Zeros,
Sex Pistols,
Tomorrow,
Blancmange,
The Remains,
MC5,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.