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 Jamaica and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1975.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Stockholm 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 organ 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 Brick to the punk 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 The Mummies. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Qualms,
Alphaville,
Spoonie Gee,
Oppenheimer Analysis,
Roxette,
The Birthday Party,
Gian Franco Pienzio,
Bobby Womack,
The Slackers,
Bill Near,
World's Most,
Loose Ends,
Major Organ And The Adding Machine,
the Association,
The Young Rascals,
Lee Hazlewood,
Anthony Braxton,
The Wake,
Smog,
Terrestrial Tones,
Urselle,
Ronan,
London Community Gospel Choir,
Rahsaan Roland Kirk,
Lebanon Hanover,
Robert Görl,
Rakim,
Nick Cave & The Bad Seeds,
K-Klass,
Neu!,
The Sound,
Avey Tare's Slasher Flicks,
Bootsy's Rubber Band,
The Victims,
The Pop Group,
Oblivians,
The Vogues,
The Searchers,
Sam Rivers,
Subhumans,
Pere Ubu,
Angry Samoans,
The Selecter,
The Evens,
Bobbi Humphrey,
Talk Talk,
Jawbox,
Radio Birdman,
Derrick Morgan,
Panda Bear,
DeepChord presents Echospace,
Scan 7,
The Standells,
Bauhaus,
Amon Düül II,
Be Bop Deluxe,
The Index,
LL Cool J,
Erasure,
Laurel Aitken,
Sugar Minott,
Radiopuhelimet,
Angels of Light & Akron/Family,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.