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 Portugal and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in London and Beijing.
I'm losing my edge to the art-school Toronto 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 Chic practice in a loft in New York.
I was working on the güiro 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 Kings Of Tomorrow to the disco kids.
I played it at the Crocodile.
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 Tears for Fears. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Marmalade 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Electric Light Orchestra,
Theoretical Girls,
The Raincoats,
Quantec,
The Kinks,
Fatback Band,
Reagan Youth,
Eurythmics,
Spandau Ballet,
Röyhkä ja Rättö ja Lehtisalo,
Symarip,
Average White Band,
Index,
Von Mondo,
The Music Machine,
Joe Smooth,
Patti Smith,
Half Japanese,
Shuggie Otis,
Radio Birdman,
Kayak,
Arcadia,
Tim Buckley,
H. Thieme,
Rowland S Howard / Lydia Lunch,
Ken Boothe,
Monolake,
Albert Ayler,
Underground Resistance,
Schoolly D,
Erasure,
Kaleidoscope,
Visage,
Avey Tare,
Youth Brigade,
Gastr Del Sol,
Rhythm & Sound,
Marc Almond,
F. McDonald,
48th St. Collective,
Oppenheimer Analysis,
Make Up,
Surgeon,
The Moleskins,
Chrome,
The Selecter,
Liaisons Dangereuses,
A Certain Ratio,
The Litter,
Q65,
Siglo XX,
Loose Ends,
a-ha,
Parry Music,
Fad Gadget,
Urselle,
The Peanut Butter Conspiracy,
Public Enemy,
Ten City,
the Human League,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.