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 Guyana and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school Delhi 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 clarinet 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 Joe Smooth to the rock kids.
I played it at the Crocodile.
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 Blake Baxter. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every The Electric Prunes 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Theoretical Girls,
Hoover,
Bauhaus,
The Fortunes,
Reagan Youth,
Television Personalities,
Fatback Band,
Inner City,
Marc Almond,
Ultravox,
Donald Byrd,
Barclay James Harvest,
D'Angelo,
Dave Gahan,
Sugar Minott,
Rod Modell,
Graham Central Station,
Tomorrow,
Alison Limerick,
Drexciya,
Girls At Our Best!,
Arthur Verocai,
Rhythm & Sound,
The Modern Lovers,
Skaos,
Deutsch Amerikanische Freundschaft,
Flamin' Groovies,
The Selecter,
In Retrospect,
Joy Division,
Nils Olav,
The Beau Brummels,
Lucky Dragons,
Derrick May,
Visage,
The Real Kids,
the Soft Cell,
Bizarre Inc.,
Sarah Menescal,
New Order,
Barry Ungar,
The Techniques,
Notorious BIG live in Amsterdam,
Stockholm Monsters,
Jeru the Damaja,
Spandau Ballet,
Radiopuhelimet,
Young Marble Giants,
Pete Rock & C.L. Smooth,
Rites of Spring,
Fifty Foot Hose,
Brand Nubian,
Letta Mbulu,
Unrelated Segments,
Bobby Sherman,
Black Sheep,
Animal Collective,
LL Cool J,
Kerri Chandler,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.