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 Mexico and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Bremen.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Toni Rubio to the jazz kids.
I played it at the Astoria.
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 Max Romeo. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Bill Wells,
Ash Ra Tempel,
the Germs,
Louis and Bebe Barron,
Massinfluence,
Johnny Osbourne,
Derrick May,
Sarah Menescal,
Zapp,
Jimmy McGriff,
Bronski Beat,
Urselle,
Pantaleimon,
The Residents,
The Moody Blues,
Kauko Röyhkä ja Narttu,
Marc Almond,
A Flock of Seagulls,
Hot Snakes,
Don Cherry,
Rites of Spring,
Soulsonic Force,
Los Fastidios,
Mr. Review,
Electric Light Orchestra,
Orchestral Manoeuvres in the Dark,
Deutsch Amerikanische Freundschaft,
Radio Birdman,
The Young Rascals,
Roxette,
Godley & Creme,
Barrington Levy,
Marshall Jefferson,
The Searchers,
Mandrill,
The Golliwogs,
Zero Boys,
the Slits,
Hoover,
Nik Kershaw,
Fugazi,
Johnny Clarke,
The Names,
Notorious BIG live in Amsterdam,
Howard Jones,
The Star Department,
The Toasters,
Nico,
The Pop Group,
These Immortal Souls,
Lalann,
Q65,
Ohio Players,
Circle Jerks,
Girls At Our Best!,
Todd Terry,
Roxy Music,
Jacob Miller,
Surgeon,
PIL,
Gary Puckett & The Union Gap,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.