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 Cameroon and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Spokane and Lille.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin 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 The Red Krayola to the crunk kids.
I played it at the Astoria.
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 David Axelrod. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Talk Talk 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 a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Eli Mardock,
Boredoms,
the Fania All-Stars,
Kool Moe Dee,
Ohio Players,
Throbbing Gristle,
Fad Gadget,
Lee Hazlewood,
Hardrive,
Gang Gang Dance,
Little Man,
Heaven 17,
The Dirtbombs,
Glenn Branca,
The Slits,
Lalann,
Hashim,
Ash Ra Tempel,
New Order,
Albert Ayler,
London Community Gospel Choir,
Angels of Light & Akron/Family,
Nirvana,
DNA,
Fela Kuti,
Stockholm Monsters,
the Soft Cell,
June of 44,
The Moleskins,
Unrelated Segments,
Kings Of Tomorrow,
The Associates,
Lungfish,
Black Flag,
Bluetip,
Quantec,
Bobby Sherman,
Ralphi Rosario,
Tomorrow,
Ajijia Myrayebe,
Dual Sessions,
Spandau Ballet,
The Motions,
UT,
Barrington Levy,
Mandrill,
In Retrospect,
Blake Baxter,
Flamin' Groovies,
The Doors,
Terror Squad Feat. Camron,
The Gladiators,
Lower 48,
Loose Ends,
Roger Hodgson,
Wally Richardson,
Rotary Connection,
Newcleus,
Mark Hollis,
8 Eyed Spy,
the Germs,
Gong,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.