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 Jordan and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Toronto and Jakarta.
I'm losing my edge to the art-school Woodstock 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 Gap Band to the disco 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 China Crisis. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every The Sound 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Siglo XX,
Avey Tare & Kría Brekkan,
The Searchers,
Big Daddy Kane,
The Saints,
Toni Rubio,
KRS-One,
Spandau Ballet,
Amon Düül,
The Fire Engines,
Kool G Rap & DJ Polo,
Los Fastidios,
The Evens,
Barbara Tucker,
John Lydon,
Groovy Waters,
The Invisible,
Dave Gahan,
Jesper Dahlback,
Ajijia Myrayebe,
Neu!,
Make Up,
Underground Resistance,
Black Flag,
Roger Hodgson,
Wighnomy Brothers & Robag Wruhme,
Lee Hazlewood,
Avey Tare's Slasher Flicks,
Kayak,
Parry Music,
The Slits,
Pantaleimon,
Marmalade,
Kerrie Biddell,
LL Cool J,
Sällskapet,
Graham Central Station,
the Soft Cell,
Public Enemy,
The Red Krayola,
Cecil Taylor,
Godley & Creme,
Mary Jane Girls,
John Foxx,
Moss Icon,
The Modern Lovers,
Grey Daturas,
Sun Ra Arkestra,
Brass Construction,
Blossom Toes,
Fluxion,
The Dirtbombs,
Peter Gordon & Love of Life Orchestra,
Sad Lovers and Giants,
Silicon Teens,
Second Layer,
Rod Modell,
Minutemen,
Sexual Harrassment,
Michelle Simonal,
The Remains, The Remains, The Remains, The Remains.
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.