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 Swaziland and from Columbus.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and New York.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the linndrum 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 Gastr Del Sol 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 Blake Baxter. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 Grandmaster Flash record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Glenn Branca,
Pierre Henry,
Chrome,
R.M.O.,
Desert Stars,
Metal Thangz,
James Chance & The Contortions,
Average White Band,
The Dirtbombs,
The West Coast Pop Art Experimental Band,
KRS-One,
The Skatalites,
Howard Jones,
The Monochrome Set,
June of 44,
Warsaw,
Tomorrow,
Clear Light,
Laurel Aitken,
Dual Sessions,
Crash Course in Science,
Marvin Gaye,
Rites of Spring,
Justin Hinds & The Dominoes,
Von Mondo,
the Soft Cell,
L. Decosne,
Livin' Joy,
Yellowson,
Sad Lovers and Giants,
The Cramps,
Derrick Morgan,
Skriet,
Marc Almond,
Deadbeat,
Manfred Mann's Earth Band,
Wasted Youth,
Cybotron,
Kango’s Stein Massive,
Absolute Body Control,
Mission of Burma,
Monks,
Joey Negro,
Strawberry Alarm Clock,
EPMD,
Marc Romboy vs. Booka Shade,
Super Lover Cee & Casanova Rud,
Derrick May,
Harry Pussy,
Deutsch Amerikanische Freundschaft,
The Martian,
Y Pants,
Youth Brigade,
Circle Jerks,
Nation of Ulysses,
Fear,
Subhumans,
PIL,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.