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 Montenegro and from Winnipeg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Lyon.
I'm losing my edge to the art-school Copenhagen 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 Captain Beefheart 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 Monks to the grime 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 Brick. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal funk 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Notorious Big And Bone Thugs,
The Shadows of Knight,
Curtis Mayfield,
The Walker Brothers,
Boz Scaggs,
Fifty Foot Hose,
The Busters,
Jerry Gold Smith,
Soft Machine,
Jeff Lynne,
Grandmaster Flash and the Furious Five,
The Jesus and Mary Chain,
Saccharine Trust,
Massinfluence,
Hardrive,
Audionom,
Metal Thangz,
Little Man,
The Searchers,
Crispian St. Peters,
Buzzcocks,
Black Moon,
Ultimate Spinach,
Pulsallama,
Bluetip,
Flamin' Groovies,
Mantronix,
The Velvet Underground,
Bush Tetras,
Graham Central Station,
The Grass Roots,
Rowland S Howard / Lydia Lunch,
Soft Cell,
The Mojo Men,
F. McDonald,
Rod Modell,
the Human League,
Morten Harket,
Donny Hathaway,
Sad Lovers and Giants,
New York Dolls,
Pussy Galore,
X-Ray Spex,
PIL,
Qualms,
Albert Ayler,
The Divine Comedy,
Lee Hazlewood,
The Doobie Brothers,
The Associates,
Yazoo,
Lou Reed,
Model 500,
Kaleidoscope,
Larry & the Blue Notes,
Underground Resistance,
The Leaves,
Isaac Hayes,
Fad Gadget,
The Vogues,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.