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 Bahamas and from Portland.
But I was there.
I was there in .
I was there at the first Suicide 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 1968 to 1979.
I'm losing my edge.
To all the kids in Lille and Milan.
I'm losing my edge to the art-school Madrid 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Gregory Isaacs to the disco 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 Hasil Adkins. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal rock 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 a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Sarah Menescal,
Tim Buckley,
Scott Walker + Sunn O))),
cv313,
Au Pairs,
Charles Mingus,
L. Decosne,
R.M.O.,
The Associates,
Aswad,
The Sisters of Mercy,
June Days,
Alison Limerick,
The Raincoats,
Soft Machine,
Andrew Hill,
Monks,
Todd Rundgren,
Mark Hollis,
Don Cherry,
8 Eyed Spy,
The Gladiators,
Depeche Mode,
Roxy Music,
Skaos,
The Modern Lovers,
Ossler,
Orchestral Manoeuvres in the Dark,
48th St. Collective,
Radiopuhelimet,
Los Fastidios,
Stereo Dub,
Harpers Bizarre,
Blake Baxter,
Basic Channel,
Camberwell Now,
Kenny Larkin,
Super Lover Cee & Casanova Rud,
This Heat,
Clear Light,
Anthony Braxton,
Ponytail,
Byron Stingily,
The Selecter,
The Sonics,
Y Pants,
Khruangbin,
Blossom Toes,
The Mighty Diamonds,
The Pop Group,
Rhythm & Sound,
Ash Ra Tempel,
Slick Rick,
Gastr Del Sol,
Lou Reed,
Dorothy Ashby,
Tropical Tobacco,
Bill Wells,
Television Personalities,
Max Romeo,
The Fuzztones,
Brass Construction,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.