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 Gabon and from Shanghai.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Salvador and Beijing.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Sound Behaviour to the disco kids.
I played it at the Spitz.
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 Minor Threat. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Pole,
Saccharine Trust,
Wasted Youth,
Lindisfarne,
Pete Rock & C.L. Smooth,
Wolf Eyes,
the Swans,
Flamin' Groovies,
Minutemen,
Eric Copeland,
The Cowsills,
Arab on Radar,
Black Bananas,
Teenage Jesus and the Jerks,
Robert Wyatt,
The Monochrome Set,
Bobby Byrd,
The Sisters of Mercy,
Amazonics,
Alison Limerick,
Morten Harket,
The Barracudas,
Tubeway Army,
Boogie Down Productions,
Infiniti,
Avey Tare & Kría Brekkan,
The Leaves,
Judy Mowatt,
Patti Smith,
Drive Like Jehu,
Letta Mbulu,
Malaria!,
Lizzy Mercier Descloux,
Soulsonic Force,
Funkadelic,
Sound Behaviour,
Harmonia,
Outsiders,
Electric Prunes,
Tears for Fears,
The Fortunes,
Model 500,
The Fuzztones,
Ken Boothe,
Jesper Dahlback,
Lalo Schifrin,
Ash Ra Tempel,
La Düsseldorf,
Bill Wells,
Suicide,
Can,
Big Daddy Kane,
Organ,
U.S. Maple,
June Days,
Gian Franco Pienzio,
The Fire Engines,
Brothers Johnson,
Faraquet,
Bobby Hutcherson,
John Foxx,
The Monks,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.