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 Afghanistan and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 Nile Rodgers 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 Alphaville to the disco kids.
I played it at the Hacienda.
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 Howard Jones. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Sex Pistols,
Rakim,
The United States of America,
Lafayette Afro Rock Band,
Nico,
Blossom Toes,
Ultra Naté,
Minny Pops,
Fluxion,
World's Most,
Nick Fraelich,
The West Coast Pop Art Experimental Band,
Flamin' Groovies,
It's A Beautiful Day,
Pylon,
Aaron Thompson,
Adolescents,
Aural Exciters,
The Peanut Butter Conspiracy,
The Busters,
Model 500,
Pole,
Television Personalities,
Loose Ends,
The Modern Lovers,
Soul Sonic Force,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Remains,
Joyce Sims,
Rhythim Is Rhythim,
Electric Prunes,
Delta 5,
The Moody Blues,
Robert Hood,
Electric Light Orchestra,
Shoche,
Henry Cow,
Fat Boys,
Dead Boys,
A Flock of Seagulls,
Urselle,
Magma,
The Birthday Party,
8 Eyed Spy,
Derrick May,
The Divine Comedy,
Stereo Dub,
DJ Style,
Y Pants,
Janne Schatter,
Minnie Riperton,
Nirvana,
The Mojo Men,
Hardrive,
Teenage Jesus and the Jerks,
Tubeway Army,
Jawbox,
Notorious Big And Bone Thugs,
The J.B.'s,
This Heat,
Don Cherry,
Von Mondo,
Cluster,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.