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 Bangladesh and from Lille.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1969 to 1978.
I'm losing my edge.
To all the kids in Bremen and Delhi.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Radiohead to the punk kids.
I played it at CBGB's.
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 Lou Christie. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Kevin Saunderson 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Sparks,
X-101,
The Knickerbockers,
The Fall,
Inner City,
B.T. Express,
Lalo Schifrin,
Tropical Tobacco,
Harry Pussy,
The Offenders,
Ultra Naté,
Bluetip,
The Techniques,
Sugar Minott,
Terror Squad Feat. Camron,
Bobby Hutcherson,
Eve St. Jones,
Fifty Foot Hose,
Larry & the Blue Notes,
Motorama,
the Swans,
Ten City,
Aural Exciters,
Siouxsie and the Banshees,
La Düsseldorf,
AZ,
MDC,
James White and The Blacks,
Ultramagnetic MC's,
Sonic Youth,
Quantec,
Kevin Saunderson,
Joensuu 1685,
Davy DMX,
The Red Krayola,
Grey Daturas,
Negative Approach,
Pharaoh Sanders and the Fire Engines,
The Smiths,
Lightning Bolt,
Q and Not U,
Fear,
Bootsy's Rubber Band,
Mr. Review,
Interpol,
The Vogues,
Fort Wilson Riot,
Brick,
Lou Reed,
The Modern Lovers,
Deepchord,
Yazoo,
The Gories,
Jerry's Kids,
Quando Quango,
The Star Department,
Isaac Hayes,
The Smoke,
8 Eyed Spy,
Eric Dolphy,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.