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 Egypt and from Johannesburg.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school New York 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 chamberlin 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 Sam Rivers to the dance kids.
I played it at the Spitz.
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 Minutemen. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Eden Ahbez 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
The Fire Engines,
The Alarm Clocks,
The Seeds,
Dorothy Ashby,
Cluster,
The Evens,
Gang Starr,
Peter and Kerry,
Fad Gadget,
Man Parrish,
The Names,
Surgeon,
Fat Boys,
Organ,
Skaos,
Nils Olav,
Lou Christie,
Ponytail,
New Order,
World's Most,
Ralphi Rosario,
Gil Scott-Heron & Brian Jackson,
Sam Rivers,
The United States of America,
Brick,
Röyhkä ja Rättö ja Lehtisalo,
The Five Americans,
Television,
Isaac Hayes,
Ten City,
Jawbox,
Roger Hodgson,
Liaisons Dangereuses,
The Trojans,
Orchestral Manoeuvres in the Dark,
The Dave Clark Five,
Heavy D & The Boyz,
Carl Craig,
Soft Cell,
Livin' Joy,
Drexciya,
The Gun Club,
kango's stein massive,
Pete Rock & C.L. Smooth,
OOIOO,
The Slackers,
Eddi Front,
Wire,
Albert Ayler,
Model 500,
Yazoo,
Gang Gang Dance,
John Foxx,
Circle Jerks,
D'Angelo,
Flipper,
Tres Demented,
Thinking Fellers Union Local 282,
Bobby Byrd,
Pole, Pole, Pole, Pole.
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.