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 Afghanistan and from Shanghai.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Manila and Winnipeg.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 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 Flash Fearless to the disco kids.
I played it at the 40 Watt.
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 Art Ensemble Of Chicago. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Junior Murvin,
The Evens,
The Durutti Column,
Aaron Thompson,
ABBA,
Stockholm Monsters,
June Days,
Skaos,
Pantaleimon,
Minnie Riperton,
Qualms,
Juan Atkins,
48th St. Collective,
X-Ray Spex,
Con Funk Shun,
Pete Rock & C.L. Smooth,
DNA,
Bad Manners,
Kerrie Biddell,
Kauko Röyhkä ja Narttu,
Camberwell Now,
The Real Kids,
Cybotron,
Tom Boy,
The Modern Lovers,
Technova,
Quantec,
The Doors,
Matthew Bourne,
Black Flag,
Agent Orange,
Bauhaus,
Visage,
X-102,
Porter Ricks,
Byron Stingily,
Q65,
Barclay James Harvest,
The Chocolate Watch Band,
Unrelated Segments,
Negative Approach,
Judy Mowatt,
Dorothy Ashby,
Hasil Adkins,
Basic Channel,
Eli Mardock,
Grandmaster Flash,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Orchestral Manoeuvres in the Dark,
Second Layer,
The Blackbyrds,
Soul Sonic Force,
JFA,
Lou Reed & John Cale,
The Mighty Diamonds,
Ultra Naté,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.