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 Uzbekistan and from Beijing.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Jakarta.
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 Feelies practice in a loft in Haledon.
I was working on the clarinet 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 Bobby Hutcherson to the disco kids.
I played it at CBGB's.
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 Panda Bear. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every John Lydon 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Masters at Work,
Tres Demented,
Brick,
Public Image Ltd.,
Section 25,
Lakeside,
Spoonie Gee,
Red Lorry Yellow Lorry,
Colin Newman,
Electric Prunes,
Lyres,
Sarah Menescal,
DNA,
Kaleidoscope,
Brand Nubian,
Soulsonic Force,
Procol Harum,
Grauzone,
Rhythim Is Rhythim,
Newcleus,
John Foxx,
Yazoo,
Tears for Fears,
Derrick Morgan,
John Lydon,
Vainqueur,
U.S. Maple,
The Shadows of Knight,
Bobby Byrd,
EPMD,
Animal Collective,
Orchestral Manoeuvres in the Dark,
Slick Rick,
The Fortunes,
Arthur Verocai,
Larry & the Blue Notes,
The Victims,
Sly & The Family Stone,
Marc Romboy vs. Booka Shade,
Avey Tare's Slasher Flicks,
Bootsy Collins,
The Human League,
Parry Music,
Mark Hollis,
Prince Buster,
Siouxsie and the Banshees,
B.T. Express,
The Pop Group,
Dual Sessions,
Matthew Halsall,
PIL,
Ponytail,
Severed Heads,
The Flesh Eaters,
Chris Corsano,
Goldenarms,
Selector Dub Narcotic,
DeepChord presents Echospace,
Scion,
Brass Construction,
Flash Fearless,
Pagans, Pagans, Pagans, Pagans.
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.