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 Nigeria and from Columbus.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Half Japanese to the rap kids.
I played it at the Spitz.
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 Smoke. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every The Grass Roots 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu 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?
Sarah Menescal,
The United States of America,
DNA,
Notorious BIG live in Amsterdam,
Johnny Osbourne,
The Moody Blues,
Drive Like Jehu,
Pulsallama,
Panda Bear,
Faust,
Michelle Simonal,
Traffic Nightmare,
Nas,
Connie Case,
Rufus Thomas,
Louis and Bebe Barron,
Reagan Youth,
Captain Beefheart & His Magic Band,
Pet Shop Boys,
Black Sheep,
Ajijia Myrayebe,
Alice Coltrane,
Lee Hazlewood,
Bill Wells,
Graham Central Station,
Supertramp,
Eric Copeland,
Make Up,
The Dead C,
Byron Stingily,
The Vogues,
DeepChord presents Echospace,
Archie Shepp,
Wasted Youth,
E-Dancer,
Frankie Knuckles,
Scan 7,
the Sonics,
The Fire Engines,
Bobby Sherman,
Intrusion,
Procol Harum,
Notorious Big And Bone Thugs,
Red Lorry Yellow Lorry,
Terror Squad Feat. Camron,
Shuggie Otis,
Rhythm & Sound,
Gil Scott-Heron & Brian Jackson,
Can,
Lou Reed & John Cale,
Average White Band,
Flipper,
Camron Feat. Memphis Bleek And Beenie Seigel,
Section 25,
Soul Sonic Force,
The Birthday Party,
Sexual Harrassment,
Flamin' Groovies,
Drexciya,
The Slits,
Jesper Dahlback,
Camouflage,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.