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 Peru and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
I'm losing my edge to the art-school Delhi 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Heaven 17 to the jazz kids.
I played it at the Hacienda.
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 Fifty Foot Hose. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal rap 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Jay Z And Juelz record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Zero Boys,
Jacques Brel,
Monks,
Camberwell Now,
Kenny Larkin,
Anthony Braxton,
Lalann,
Black Moon,
June Days,
John Foxx,
Tomorrow,
Metal Thangz,
Roxy Music,
The Last Poets,
Cameo,
Yazoo,
Scion,
Babytalk,
Major Organ And The Adding Machine,
One Last Wish,
The Doobie Brothers,
Susan Cadogan,
Funky Four + One,
Qualms,
The Peanut Butter Conspiracy,
EPMD,
Shuggie Otis,
Harry Pussy,
Fat Boys,
Archie Shepp,
Strawberry Alarm Clock,
Oppenheimer Analysis,
Kayak,
the Association,
FM Einheit,
Derrick Morgan,
Selector Dub Narcotic,
Parry Music,
Brothers Johnson,
Visage,
Toni Rubio,
Alice Coltrane,
The Move,
Sixth Finger,
Brick,
Rosa Yemen,
Half Japanese,
Be Bop Deluxe,
Wire,
Yusef Lateef,
Faraquet,
Guru Guru,
Pole,
Surgeon,
Alphaville,
Can,
This Heat,
Mo-Dettes,
In Retrospect,
Rufus Thomas,
Magazine,
CMW,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.