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 Sweden and from Madrid.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Portland 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 theremin 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 Mo-Dettes to the dance kids.
I played it at Cafe Wha.
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 Oblivians. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Lalann record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Patti Smith record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Half Japanese,
Man Parrish,
Subhumans,
Orchestral Manoeuvres in the Dark,
John Lydon,
The Buckinghams,
Peter Gordon & Love of Life Orchestra,
Johnny Clarke,
Boogie Down Productions,
Animal Collective,
D'Angelo,
Jeru the Damaja,
Neil Young,
David McCallum,
Kevin Saunderson,
Wolf Eyes,
The Chocolate Watch Band,
Ornette Coleman,
Cluster,
Vaughan Mason & Crew,
Circle Jerks,
Royal Trux,
Minor Threat,
Suburban Knight,
Mark Hollis,
The Fugs,
Donald Byrd,
Symarip,
Art Ensemble Of Chicago,
Lakeside,
Major Organ And The Adding Machine,
Alton Ellis,
Graham Central Station,
Alison Limerick,
Charles Mingus,
Visage,
Toni Rubio,
Fatback Band,
Guru Guru,
R.M.O.,
Monolake,
Talk Talk,
The Durutti Column,
Eden Ahbez,
Oppenheimer Analysis,
Byron Stingily,
Masters at Work,
The Last Poets,
Aaron Thompson,
Japan,
Bootsy Collins,
Pussy Galore,
Avey Tare,
Cybotron,
Minutemen,
Groovy Waters,
Barrington Levy,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.