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 Latvia and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Tokyo 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Carl Craig to the electroclash kids.
I played it at the Crocodile.
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 Camberwell Now. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Dave Clark Five record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Kas Product,
Soul Sonic Force,
Soft Cell,
Kauko Röyhkä ja Narttu,
Monolake,
Barclay James Harvest,
Alton Ellis,
Soul II Soul,
Monks,
Deakin,
Rotary Connection,
A Certain Ratio,
the Sonics,
Alison Limerick,
Loose Ends,
Pussy Galore,
AZ,
Electric Prunes,
The Real Kids,
The Smoke,
Jimmy McGriff,
The United States of America,
Thinking Fellers Union Local 282,
It's A Beautiful Day,
Boredoms,
Barbara Tucker,
Young Marble Giants,
Tom Boy,
The J.B.'s,
Deutsch Amerikanische Freundschaft,
Metal Thangz,
Saccharine Trust,
Arthur Verocai,
Easy Going,
The Victims,
Gregory Isaacs,
FM Einheit,
Scrapy,
Kings Of Tomorrow,
Hashim,
Television,
Jawbox,
Sunsets and Hearts,
Marc Romboy vs. Booka Shade,
Black Bananas,
Qualms,
Swell Maps,
Crispy Ambulance,
The Golliwogs,
Terry Callier,
Mandrill,
Leonard Cohen,
The Monochrome Set,
Aural Exciters,
PIL,
Beasts of Bourbon,
The Fuzztones,
Reagan Youth,
Thee Headcoats,
The Five Americans,
Eric B and Rakim,
Camouflage,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.