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 Mauritius and from London.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Salvador 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 Feelies practice in a loft in Haledon.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 EPMD to the dance kids.
I played it at the 40 Watt.
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 John Lydon. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Brass Construction 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 '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
L. Decosne,
The Jesus and Mary Chain,
Boogie Down Productions,
This Heat,
Pharaoh Sanders and the Fire Engines,
The Selecter,
Andrew Hill,
Toni Rubio,
Kings Of Tomorrow,
Electric Prunes,
Glambeats Corp.,
Mantronix,
Steve Hackett,
Suburban Knight,
Surgeon,
Masters at Work,
Rekid,
Juan Atkins,
Junior Murvin,
The Move,
Dark Day,
The Young Rascals,
Animal Collective,
K-Klass,
Niagra,
The Last Poets,
Derrick Morgan,
Jeru the Damaja,
Icehouse,
the Slits,
La Düsseldorf,
Art Ensemble Of Chicago,
Scott Walker,
Lindisfarne,
the Fania All-Stars,
Roxy Music,
Andrew Ashong & Theo Parrish,
Bobby Hutcherson,
Jacob Miller,
Piero Umiliani,
Jesper Dahlback,
Rhythim Is Rhythim,
Nick Cave & The Bad Seeds,
Pantaleimon,
World's Most,
Popol Vuh,
The Evens,
The Fugs,
Lungfish,
MC5,
cv313,
Bronski Beat,
JFA,
The Leaves,
Hardrive,
Rapeman,
The Blues Magoos,
Au Pairs,
Supertramp,
Soft Machine,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.