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 Tajikistan and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Mumbai.
I'm losing my edge to the art-school Mumbai 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 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 Eli Mardock to the techno 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 David McCallum. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Electric Prunes,
Infiniti,
Major Organ And The Adding Machine,
The Gap Band,
cv313,
8 Eyed Spy,
The Peanut Butter Conspiracy,
Flamin' Groovies,
Letta Mbulu,
Mary Jane Girls,
Animal Collective,
The Sound,
Porter Ricks,
DJ Style,
Negative Approach,
The Modern Lovers,
Easy Going,
the Germs,
Glenn Branca,
Eddi Front,
Deadbeat,
Bootsy's Rubber Band,
Lower 48,
Swell Maps,
The Fugs,
Rod Modell,
The Mojo Men,
the Association,
Aswad,
Boogie Down Productions,
Laurel Aitken,
Deakin,
Warsaw,
Aural Exciters,
The Litter,
Das Ding,
Angry Samoans,
Ultravox,
Bang On A Can,
MC5,
Larry & the Blue Notes,
Sad Lovers and Giants,
Joensuu 1685,
Cabaret Voltaire,
Scott Walker,
The West Coast Pop Art Experimental Band,
Pharoah Sanders,
Television,
R.M.O.,
Peter and Kerry,
John Cale,
Dead Boys,
Kerri Chandler,
Peter Gordon & Love of Life Orchestra,
Ohio Players,
Soft Machine,
Harpers Bizarre,
Circle Jerks,
The Gun Club,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.