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 Afghanistan and from Edmonton.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
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 Lewis practice in a loft in Vancouver.
I was working on the marimba 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 Grandmaster Flash to the electroclash 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 Idris Muhammad. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Maleditus Sound,
Bootsy Collins,
Kas Product,
Half Japanese,
Art Ensemble Of Chicago,
Monolake,
Public Image Ltd.,
Public Enemy,
Kool Moe Dee,
Zero Boys,
The Gap Band,
The Wake,
Surgeon,
Guru Guru,
Flipper,
Agent Orange,
Donny Hathaway,
Oneida,
Scrapy,
Au Pairs,
Black Flag,
Rhythim Is Rhythim,
the Bar-Kays,
Skaos,
Saccharine Trust,
Delta 5,
Make Up,
the Normal,
Visionaries,LMNO, T- Love & Iriscience,
Henry Cow,
Morten Harket,
ABBA,
The Fall,
De La Soul & Jungle Brothers,
the Swans,
Zapp,
New Order,
Althea and Donna,
Yaz,
The Red Krayola,
Bobby Byrd,
Janne Schatter,
Soft Cell,
Mandrill,
The Raincoats,
Eden Ahbez,
Barbara Tucker,
Smog,
Arab on Radar,
The Gladiators,
Liaisons Dangereuses,
Desert Stars,
Main Source,
Kevin Saunderson,
Skarface,
Fifty Foot Hose,
Simply Red,
Babytalk,
Television Personalities,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.