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 Lesotho and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1964 to 1979.
I'm losing my edge.
To all the kids in Milan and Woodstock.
I'm losing my edge to the art-school Houston 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 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 Ronnie Foster to the rock 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 Cabaret Voltaire. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
The Trojans,
Alphaville,
Faraquet,
Inner City,
Isaac Hayes,
Gil Scott Heron,
Morten Harket,
Matthew Halsall,
Quando Quango,
the Bar-Kays,
Scrapy,
The Techniques,
Rapeman,
The Gun Club,
Pylon,
Simply Red,
the Soft Cell,
The Gladiators,
Marcia Griffiths,
The American Breed,
Warsaw,
Amon Düül,
Hashim,
Juan Atkins,
The Selecter,
John Holt,
Davy DMX,
Con Funk Shun,
Goldenarms,
Buzzcocks,
Vainqueur,
Model 500,
Amon Düül II,
Ice-T,
Neu!,
L. Decosne,
Henry Cow,
Dual Sessions,
Brick,
Kas Product,
Ash Ra Tempel,
Yellowson,
Jeru the Damaja,
Rotary Connection,
Dorothy Ashby,
The Royal Family And The Poor,
Average White Band,
The Litter,
Eric Copeland,
Stetsasonic,
Spandau Ballet,
Roy Ayers Ubiquity,
Darondo,
Nils Olav,
Franke,
Bad Manners,
Porter Ricks,
Harry Pussy,
DJ Sneak,
Neil Young, Neil Young, Neil Young, Neil Young.
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.