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 Togo and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1970.
I'm losing my edge.
To all the kids in Lille and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 The Royal Family And The Poor to the grunge kids.
I played it at the Roxy.
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 Neu!. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Johnny Osbourne,
The Trojans,
Black Pus,
T. Rex,
Joey Negro,
the Bar-Kays,
Lower 48,
Stereo Dub,
The Beau Brummels,
DeepChord presents Echospace,
The Vogues,
The Pop Group,
Röyhkä ja Rättö ja Lehtisalo,
Eli Mardock,
Bang on a Can All-Stars,
Sonny Sharrock,
Johnny Clarke,
Anthony Braxton,
Procol Harum,
the Normal,
Aaron Thompson,
Joe Finger,
The Busters,
The Fall,
Leonard Cohen,
Jeff Lynne,
The Invisible,
The Dead C,
Dark Day,
Max Romeo,
Heavy D & The Boyz,
The United States of America,
The Raincoats,
Ice-T,
Pantaleimon,
Ken Boothe,
Mark Hollis,
Spoonie Gee,
Marmalade,
Gil Scott-Heron & Brian Jackson,
Sad Lovers and Giants,
Ultravox,
Ajijia Myrayebe,
Andrew Hill,
Josef K,
Swell Maps,
A Certain Ratio,
The New Christs,
Thee Headcoats,
Soft Cell,
Minutemen,
Neil Young & Crazy Horse,
Traffic Nightmare,
Kas Product,
Ituana,
Stockholm Monsters,
Flipper,
Talk Talk,
Larry & the Blue Notes,
Sällskapet,
The Human League,
The Associates, The Associates, The Associates, The Associates.
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.