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 Cuba and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1976.
I'm losing my edge.
To all the kids in London and Manchester.
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 1976 at the first Feelies practice in a loft in Haledon.
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 dance 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 Charles Mingus. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Amon Düül 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
The Blackbyrds,
The Doors,
the Fania All-Stars,
The Neon Judgement,
Pole,
The Misunderstood,
Gil Scott-Heron and Jamie xx,
Brothers Johnson,
Isaac Hayes,
KRS-One,
Spoonie Gee,
The Young Rascals,
Brand Nubian,
Drive Like Jehu,
The J.B.'s,
Eddi Front,
Nils Olav,
Major Organ And The Adding Machine,
MDC,
The Techniques,
Spandau Ballet,
T.S.O.L.,
Byron Stingily,
Slick Rick,
Dawn Penn,
Hot Snakes,
Grandmaster Flash and the Furious Five,
Lou Reed & Metallica,
Harry Pussy,
Iggy Pop,
Matthew Bourne,
Sly & The Family Stone,
Carl Craig,
Make Up,
Cabaret Voltaire,
Tomorrow,
Glenn Branca,
X-102,
The Modern Lovers,
Qualms,
The Mighty Diamonds,
Lakeside,
Yazoo,
Little Man,
Agitation Free,
Jawbox,
Yellowson,
Magazine,
Tubeway Army,
Donald Byrd,
Oblivians,
Wasted Youth,
Chris & Cosey,
James Chance & The Contortions,
The Dave Clark Five,
The Vogues,
Curtis Mayfield,
Richard Hell and the Voidoids,
Fort Wilson Riot,
The Tremeloes,
Bronski Beat,
Rekid, Rekid, Rekid, Rekid.
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.