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 Korea South and from Delhi.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Columbus and Madrid.
I'm losing my edge to the art-school Beijing 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 snare 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 Charles Mingus to the rap 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 Faraquet. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every It's A Beautiful Day 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Gang Gang Dance,
Gichy Dan,
Desert Stars,
Los Fastidios,
Lalo Schifrin,
Althea and Donna,
Richard Hell and the Voidoids,
Aural Exciters,
It's A Beautiful Day,
Jerry Gold Smith,
L. Decosne,
KRS-One,
Jesper Dahlbäck,
Byron Stingily,
World's Most,
Soft Machine,
Khruangbin,
Black Moon,
The Five Americans,
Dark Day,
Half Japanese,
Cameo,
Second Layer,
Jesper Dahlback,
Newcleus,
Scratch Acid,
Hasil Adkins,
Lalann,
Brand Nubian,
Slave,
Gang of Four,
The Names,
The Fall,
Traffic Nightmare,
Joe Smooth,
Siouxsie and the Banshees,
Girls At Our Best!,
Arthur Verocai,
Japan,
Thee Headcoats,
John Cale,
Grauzone,
Flipper,
Infiniti,
Sight & Sound,
The Human League,
Donald Byrd,
Ralphi Rosario,
Ultimate Spinach,
the Bar-Kays,
Jacob Miller,
Pulsallama,
Echospace,
the Soft Cell,
Ohio Players,
Jeff Lynne,
Peter Gordon & Love of Life Orchestra,
Dr. Dre and Snoop Doggy Dog,
Teenage Jesus and the Jerks,
Flamin' Groovies,
Mantronix, Mantronix, Mantronix, Mantronix.
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.