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 Burundi and from Shanghai.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Lagos.
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 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 John Foxx to the punk 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 Monks. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Eden Ahbez,
Röyhkä ja Rättö ja Lehtisalo,
Lafayette Afro Rock Band,
Au Pairs,
Faraquet,
The Mummies,
Tomorrow,
Spoonie Gee,
Fort Wilson Riot,
Orchestral Manoeuvres in the Dark,
Joey Negro,
DeepChord presents Echospace,
Barbara Tucker,
Danielle Patucci,
Heavy D & The Boyz,
Urselle,
Oppenheimer Analysis,
Simply Red,
Johnny Osbourne,
Severed Heads,
David McCallum,
In Retrospect,
Bang On A Can,
DJ Sneak,
Jacob Miller,
Dark Day,
Rites of Spring,
Absolute Body Control,
Robert Hood,
Niagra,
Cymande,
Louis and Bebe Barron,
Bronski Beat,
The Vogues,
Jesper Dahlbäck,
Godley & Creme,
Fad Gadget,
Glambeats Corp.,
Ajijia Myrayebe,
Joyce Sims,
Max Romeo,
Crispy Ambulance,
The Invisible,
the Bar-Kays,
Gerry Rafferty,
Bad Manners,
The Gap Band,
Sexual Harrassment,
Lalo Schifrin,
Gian Franco Pienzio,
Section 25,
Animal Collective,
Colin Newman,
Yusef Lateef,
Eric B and Rakim,
Cameo,
Maurizio,
Public Image Ltd.,
New Order,
the Slits,
PIL,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.