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 Cambodia and from Columbus.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1963 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Taipei.
I'm losing my edge to the art-school Tehran 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 güiro 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 EPMD to the crunk 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Pantaleimon,
The Gun Club,
Don Cherry,
48th St. Collective,
The Standells,
John Foxx,
Donny Hathaway,
Roy Ayers,
Notorious Big And Bone Thugs,
Rufus Thomas,
Quadrant,
The Black Dice,
Peter and Kerry,
Average White Band,
Siglo XX,
Derrick May,
The Durutti Column,
Liaisons Dangereuses,
Country Joe & The Fish,
Rites of Spring,
Althea and Donna,
The Saints,
Rahsaan Roland Kirk,
The Fortunes,
David Axelrod,
Das Ding,
Brick,
Funky Four + One,
The Beau Brummels,
Popol Vuh,
Wings,
Youth Brigade,
The Divine Comedy,
Gil Scott Heron,
Soulsonic Force,
Fela Kuti,
Steve Hackett,
Mark Hollis,
Crash Course in Science,
Flipper,
Bobby Womack,
The Move,
Angels of Light & Akron/Family,
Sixth Finger,
Fifty Foot Hose,
the Normal,
Art Ensemble Of Chicago,
Hoover,
The Raincoats,
Magma,
The Shadows of Knight,
Tropical Tobacco,
Crispy Ambulance,
Isaac Hayes,
Kango’s Stein Massive,
Jeru the Damaja,
Soft Cell,
Bobby Byrd,
Todd Rundgren,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.