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 Oman and from Portland.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1977.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Calgary 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Zapp to the disco kids.
I played it at the Troubador.
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 The Moody Blues. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Bill Wells,
PIL,
Cameo,
Icehouse,
The Cosmic Jokers,
Liaisons Dangereuses,
Alton Ellis,
Metal Thangz,
Severed Heads,
Funkadelic,
The Modern Lovers,
Robert Hood,
The Fall,
The Walker Brothers,
Roxette,
Interpol,
Derrick May,
Clear Light,
Sight & Sound,
Can,
Supertramp,
Dead Boys,
It's A Beautiful Day,
Boz Scaggs,
Joey Negro,
Freddie Wadling,
Gabor Szabo,
The Trojans,
Soulsonic Force,
Juan Atkins,
Camberwell Now,
Bad Manners,
New Age Steppers,
Television,
Rod Modell,
FM Einheit,
the Association,
Lower 48,
Visionaries,LMNO, T- Love & Iriscience,
The Star Department,
Fat Boys,
Ohio Players,
Arcadia,
Lizzy Mercier Descloux,
Thompson Twins,
Inner City,
Sexual Harrassment,
Strawberry Alarm Clock,
Grandmaster Flash and the Furious Five,
Soul Sonic Force,
Q65,
Oppenheimer Analysis,
Erykah Badu,
Pet Shop Boys,
Zero Boys,
Theoretical Girls,
Sonic Youth,
Sound Behaviour,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.