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 Tunisia and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1975.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Philadelphia 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Grandmaster Flash to the punk kids.
I played it at the Astoria.
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 Vaughan Mason & Crew. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Aloha Tigers 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your organ and bought a guitar.
I hear that you and your band have sold your guitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
The Trojans,
Quando Quango,
Art Ensemble Of Chicago,
Kurtis Blow,
Amon Düül II,
Jesper Dahlback,
The Monochrome Set,
T.S.O.L.,
Boredoms,
Sarah Menescal,
The Monks,
Lungfish,
Crooked Eye,
Jerry Gold Smith,
PIL,
Big Daddy Kane,
Das Ding,
The Blackbyrds,
Strawberry Alarm Clock,
Kas Product,
The Gap Band,
Excepter,
Nik Kershaw,
Vladislav Delay,
Supertramp,
The Tremeloes,
Rakim,
The Cowsills,
Suburban Knight,
Desert Stars,
Jawbox,
Tommy Roe,
Lou Reed & Metallica,
Thee Headcoats,
D'Angelo,
Notorious Big And Bone Thugs,
Liaisons Dangereuses,
Brothers Johnson,
Bill Near,
Soulsonic Force,
Peter and Kerry,
Absolute Body Control,
Joe Smooth,
Nils Olav,
Ronnie Foster,
Piero Umiliani,
Man Parrish,
Cluster,
Gang Green,
Groovy Waters,
Soft Cell,
Yusef Lateef,
Minnie Riperton,
a-ha,
The Walker Brothers,
AZ,
One Last Wish,
The Pop Group,
Todd Rundgren,
Pylon, Pylon, Pylon, Pylon.
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.