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 Morocco and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Madrid 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Barracudas to the jazz kids.
I played it at CBGB's.
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 Blancmange. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
the Association,
Cecil Taylor,
Robert Görl,
David Axelrod,
Quando Quango,
Soulsonic Force,
Judy Mowatt,
Popol Vuh,
John Lydon,
Eddi Front,
The Dead C,
Lalann,
Teenage Jesus and the Jerks,
Bob Dylan,
Byron Stingily,
The Happenings,
Albert Ayler,
Amon Düül II,
Kool G Rap & DJ Polo,
The Blackbyrds,
Ice-T,
Vainqueur,
Simply Red,
Crash Course in Science,
Black Bananas,
Ultravox,
The Alarm Clocks,
Newcleus,
The Sisters of Mercy,
Jawbox,
Bobby Byrd,
Curtis Mayfield,
Cheater Slicks,
Visage,
Gang Gang Dance,
Marc Romboy vs. Booka Shade,
Arab on Radar,
Anakelly,
Man Parrish,
The Cowsills,
Cameo,
cv313,
Cal Tjader,
Deepchord,
Masters at Work,
Mars,
Pagans,
The Walker Brothers,
Zero Boys,
The Monochrome Set,
Aural Exciters,
Sonny Sharrock,
Chris Corsano,
Brothers Johnson,
Echo & the Bunnymen,
Chrome,
Glenn Branca,
Cybotron,
Public Image Ltd.,
Amon Düül,
Hoover,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.