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 Egypt and from Milan.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Woodstock 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 1984 at the first Arcadia 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 Agent Orange to the disco 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 Toni Rubio. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
The Vogues,
Marshall Jefferson,
Zero Boys,
Avey Tare's Slasher Flicks,
Cymande,
Amon Düül II,
Slick Rick,
Flamin' Groovies,
Sparks,
The Evens,
The West Coast Pop Art Experimental Band,
Tropical Tobacco,
Wings,
R.M.O.,
Gian Franco Pienzio,
Deutsch Amerikanische Freundschaft,
Larry & the Blue Notes,
T.S.O.L.,
Black Sheep,
Crispy Ambulance,
Harpers Bizarre,
Thinking Fellers Union Local 282,
The Cramps,
Crispian St. Peters,
Ronnie Foster,
Janne Schatter,
Spandau Ballet,
K-Klass,
Negative Approach,
Half Japanese,
Flipper,
Ash Ra Tempel,
Ronan,
Lakeside,
Hardrive,
Panda Bear,
Byron Stingily,
Traffic Nightmare,
Monolake,
Graham Central Station,
Toni Rubio,
Liaisons Dangereuses,
Ornette Coleman,
Barbara Tucker,
The Gladiators,
Quantec,
Tommy Roe,
A Flock of Seagulls,
Barry Ungar,
Brothers Johnson,
Deakin,
Animal Collective,
the Germs,
Franke,
Banda Bassotti,
The Walker Brothers,
Fifty Foot Hose,
Girls At Our Best!,
The Buckinghams,
Jesper Dahlback,
Pole, Pole, Pole, Pole.
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.