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 Lebanon and from Mexico City.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1977.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Tehran 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 harpsichord 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 Derrick May to the rap kids.
I played it at the Hacienda.
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 Stereo Dub. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jandek,
Bad Manners,
Skarface,
X-Ray Spex,
Franke,
Black Pus,
Fort Wilson Riot,
The Birthday Party,
The Monochrome Set,
Faust,
The Victims,
Laurel Aitken,
Quadrant,
The Smoke,
The Kinks,
Neu!,
KRS-One,
The Angels of Light,
K-Klass,
Procol Harum,
Eric B and Rakim,
Marcia Griffiths,
Goldenarms,
the Bar-Kays,
Lucky Dragons,
The Grass Roots,
Groovy Waters,
Roxette,
Shoche,
OOIOO,
The Busters,
Qualms,
Intrusion,
Gang Gang Dance,
The Toasters,
Aloha Tigers,
Fugazi,
Rahsaan Roland Kirk,
Peter and Kerry,
Erasure,
The Saints,
Pantaleimon,
Be Bop Deluxe,
Minor Threat,
Kevin Saunderson,
The Names,
Dennis Brown,
The Happenings,
Gian Franco Pienzio,
Bluetip,
Darondo,
Liaisons Dangereuses,
Rhythm & Sound,
Röyhkä ja Rättö ja Lehtisalo,
Stockholm Monsters,
The Fire Engines,
Matthew Halsall,
Traffic Nightmare,
Crispian St. Peters,
Metal Thangz,
Lower 48,
Oblivians,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.