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 Luxembourg and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Spokane.
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 güiro 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 Eden Ahbez to the crunk 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 Slave. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal grime 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Buzzcocks,
Tommy Roe,
Don Cherry,
Todd Terry,
U.S. Maple,
Roy Ayers Ubiquity,
Jesper Dahlback,
Kenny Larkin,
The Dead C,
Yellowson,
Man Parrish,
The Sound,
The Gladiators,
E-Dancer,
Organ,
Motorama,
Tom Boy,
Mandrill,
Piero Umiliani,
The Saints,
Amon Düül,
Barbara Tucker,
John Cale,
Infiniti,
The Leaves,
Mars,
The Fortunes,
Deepchord,
Franke,
The Neon Judgement,
Ultravox,
Dark Day,
Symarip,
Black Moon,
Ossler,
The Shadows of Knight,
Kauko Röyhkä ja Narttu,
The Move,
The Tremeloes,
Scott Walker,
The Alarm Clocks,
Tubeway Army,
The Dave Clark Five,
Lou Reed,
Marine Girls,
Peter and Kerry,
Mad Mike,
Rapeman,
Fluxion,
Selector Dub Narcotic,
Orchestral Manoeuvres in the Dark,
The Durutti Column,
Youth Brigade,
Model 500,
Half Japanese,
Mission of Burma,
The Toasters,
the Soft Cell,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.