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 Albania and from Salvador.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Bologna and Delhi.
I'm losing my edge to the art-school Woodstock 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 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 The Divine Comedy to the punk kids.
I played it at the 40 Watt.
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 U.S. Maple. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Con Funk Shun,
Ultramagnetic MC's,
Arab on Radar,
Sex Pistols,
Fela Kuti,
Crooked Eye,
Morten Harket,
One Last Wish,
Gary Puckett & The Union Gap,
Clear Light,
Duran Duran,
PIL,
Loose Ends,
Mad Mike,
Soft Cell,
The Fire Engines,
Radiohead,
Drive Like Jehu,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Victims,
Fatback Band,
Massinfluence,
Niagra,
Los Fastidios,
Pagans,
Electric Light Orchestra,
Thee Headcoats,
a-ha,
Yusef Lateef,
Lebanon Hanover,
The Mojo Men,
Severed Heads,
The Slits,
DJ Style,
Faraquet,
Röyhkä ja Rättö ja Lehtisalo,
Big Daddy Kane,
Delon & Dalcan,
Moby Grape,
Deutsch Amerikanische Freundschaft,
JFA,
Jesper Dahlback,
Bill Near,
Deakin,
Lungfish,
Scott Walker + Sunn O))),
Shoche,
Bronski Beat,
A Flock of Seagulls,
Slick Rick,
Arthur Verocai,
Rahsaan Roland Kirk,
Gil Scott-Heron & Brian Jackson,
Soul II Soul,
Unrelated Segments,
Kenny Larkin,
Lower 48,
Lonnie Liston Smith,
The Sound,
Marshall Jefferson,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.