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 Estonia and from Beijing.
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 1978.
I'm losing my edge.
To all the kids in Woodstock and Seoul.
I'm losing my edge to the art-school Hong Kong 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 at the first Suicide practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Aaron Thompson to the funk 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 Soft Cell. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every Masters at Work 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 '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Audionom,
A Flock of Seagulls,
Parry Music,
New Order,
Avey Tare,
In Retrospect,
Mandrill,
Marcia Griffiths,
Intrusion,
Minor Threat,
Fad Gadget,
Ponytail,
Khruangbin,
Eyeless In Gaza,
The Young Rascals,
Suicide,
Lakeside,
Boogie Down Productions,
Maleditus Sound,
Kings Of Tomorrow,
Franke,
U.S. Maple,
Livin' Joy,
Amon Düül II,
Slick Rick,
Gian Franco Pienzio,
The Leaves,
Joe Finger,
Jeff Mills,
Desert Stars,
Matthew Halsall,
Scrapy,
Jesper Dahlback,
The Men They Couldn't Hang,
Ronnie Foster,
Moby Grape,
The Buckinghams,
Skaos,
Talk Talk,
Anthony Braxton,
The Trojans,
Little Man,
Cecil Taylor,
Lou Reed & Metallica,
The Residents,
Q65,
Nick Cave & The Bad Seeds,
Section 25,
Q and Not U,
Piero Umiliani,
Red Lorry Yellow Lorry,
Malaria!,
Brick,
Andrew Ashong & Theo Parrish,
The Black Dice,
Barry Ungar,
The Searchers,
Matthew Bourne,
Isaac Hayes,
Visage,
Inner City, Inner City, Inner City, Inner City.
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.