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 Manila.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Delhi 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Jerry's Kids to the electroclash kids.
I played it at Cafe Wha.
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 Avey Tare & Kría Brekkan. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal disco 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
The Electric Prunes,
Skarface,
Icehouse,
Negative Approach,
Louis and Bebe Barron,
KRS-One,
The Trojans,
Parry Music,
Grandmaster Flash and the Furious Five,
The Pretty Things,
Los Fastidios,
The Move,
James White and The Blacks,
Joy Division,
The Doobie Brothers,
E-Dancer,
Television,
The Saints,
X-101,
Camouflage,
Crime,
The Gun Club,
Cybotron,
Ornette Coleman,
Sugar Minott,
Fela Kuti,
Minny Pops,
a-ha,
Idris Muhammad,
The Pop Group,
the Slits,
Marcia Griffiths,
Barry Ungar,
Fluxion,
June Days,
Magazine,
Bauhaus,
Ken Boothe,
Maurizio,
Yellowson,
Eurythmics,
Joe Smooth,
Goldenarms,
Tomorrow,
Graham Central Station,
Gerry Rafferty,
Moss Icon,
Second Layer,
Country Joe & The Fish,
Sex Pistols,
the Germs,
The Peanut Butter Conspiracy,
Tres Demented,
Livin' Joy,
Rhythim Is Rhythim,
Sexual Harrassment,
Brand Nubian,
The Birthday Party,
John Coltrane,
Notorious Big And Bone Thugs,
Subhumans, Subhumans, Subhumans, Subhumans.
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.