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 Turkmenistan and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1978.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Paris 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 mellotron 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 Masters at Work to the rock 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 Wire. All the underground hits.
All AZ tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
The Dirtbombs,
Animal Collective,
Connie Case,
Sunsets and Hearts,
Chris Corsano,
The Sonics,
Lonnie Liston Smith,
Alison Limerick,
Letta Mbulu,
Soulsonic Force,
John Cale,
Blake Baxter,
Derrick Morgan,
The Slackers,
Amon Düül,
Man Eating Sloth,
Lafayette Afro Rock Band,
Aural Exciters,
Sound Behaviour,
Joe Finger,
X-Ray Spex,
Audionom,
Strawberry Alarm Clock,
Motorama,
Todd Terry,
Skriet,
Dave Gahan,
Joensuu 1685,
Skarface,
Eric B and Rakim,
Lucky Dragons,
Pere Ubu,
The Zeros,
Newcleus,
Main Source,
Blancmange,
Swell Maps,
Magazine,
The Pop Group,
Pantytec,
Gastr Del Sol,
Pulsallama,
Rufus Thomas,
Camouflage,
Terrestrial Tones,
Carl Craig,
Ultramagnetic MC's,
Ken Boothe,
The Neon Judgement,
Vaughan Mason & Crew,
The Flesh Eaters,
Young Marble Giants,
Bill Wells,
Arab on Radar,
Cal Tjader,
Lungfish,
John Lydon,
Hashim,
Warsaw,
Sex Pistols,
Supertramp,
Hardrive,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.