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 New Zealand and from Paris.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school Shanghai 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 güiro 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 Niagra to the crunk 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 Cecil Taylor. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Crispy Ambulance,
Nation of Ulysses,
Pulsallama,
Boogie Down Productions,
Bad Manners,
Ultramagnetic MC's,
The Monochrome Set,
Quando Quango,
Dennis Brown,
Deutsch Amerikanische Freundschaft,
The Toasters,
Andrew Ashong & Theo Parrish,
Scott Walker,
Eden Ahbez,
The Grass Roots,
Visage,
MDC,
Ultravox,
Stereo Dub,
Ohio Players,
Aaron Thompson,
Barclay James Harvest,
Angels of Light & Akron/Family,
Angry Samoans,
The Real Kids,
Art Ensemble Of Chicago,
Peter Gordon & Love of Life Orchestra,
Mark Hollis,
The Count Five,
Goldenarms,
Kauko Röyhkä ja Narttu,
Sister Nancy,
Kenny Larkin,
John Holt,
The Buckinghams,
Bootsy Collins,
Lou Reed & Metallica,
Grandmaster Flash,
The Mojo Men,
Reagan Youth,
Scrapy,
B.T. Express,
Blake Baxter,
Sixth Finger,
Gary Puckett & The Union Gap,
The New Christs,
Johnny Clarke,
Swell Maps,
Traffic Nightmare,
Richard Hell and the Voidoids,
Theoretical Girls,
Crispian St. Peters,
The Smiths,
X-101,
Spandau Ballet,
Neil Young,
Unrelated Segments,
Laurel Aitken,
Lebanon Hanover,
Oppenheimer Analysis,
Country Teasers,
Fluxion, Fluxion, Fluxion, Fluxion.
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.