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 Zambia and from Paris.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Spokane and Milan.
I'm losing my edge to the art-school Toronto 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 arpeggiator 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 Laurel Aitken to the jazz kids.
I played it at the Roxy.
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 Yaz. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Wally Richardson,
Quantec,
Inner City,
Stiv Bators,
X-Ray Spex,
The Victims,
Radiopuhelimet,
Rites of Spring,
Television,
Andrew Hill,
The Raincoats,
Monks,
Zapp,
Lightning Bolt,
Erykah Badu,
Stockholm Monsters,
Funkadelic,
Al Stewart,
Nils Olav,
Wings,
Judy Mowatt,
Technova,
Agent Orange,
The Trojans,
Visage,
JFA,
Roy Ayers Ubiquity,
Basic Channel,
Scan 7,
Cameo,
Pet Shop Boys,
Byron Stingily,
Popol Vuh,
Rufus Thomas,
Flamin' Groovies,
John Lydon,
Dennis Brown,
Nick Cave & The Bad Seeds,
DJ Sneak,
Bobbi Humphrey,
Banda Bassotti,
Neil Young,
The Gories,
Ultra Naté,
Silicon Teens,
Eden Ahbez,
Dead Boys,
Lucky Dragons,
The Saints,
Little Man,
Parry Music,
Althea and Donna,
Colin Newman,
Josef K,
Unrelated Segments,
The Divine Comedy,
Bizarre Inc.,
Steve Hackett,
Icehouse,
Tears for Fears,
Darondo, Darondo, Darondo, Darondo.
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.