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 Monaco and from Lille.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1978.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Manchester 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 Chic practice in a loft in New York.
I was working on the spring reverb 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 Fat Boys to the electroclash kids.
I played it at CBGB's.
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 Jacques Brel. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Major Organ And The Adding Machine,
The Raincoats,
Tommy Roe,
Lalo Schifrin,
Andrew Ashong & Theo Parrish,
Little Man,
Minor Threat,
The Sisters of Mercy,
The Knickerbockers,
Qualms,
It's A Beautiful Day,
F. McDonald,
Lindisfarne,
Sunsets and Hearts,
Gang of Four,
Minny Pops,
La Düsseldorf,
Brass Construction,
B.T. Express,
Magazine,
Davy DMX,
Harmonia,
the Swans,
Avey Tare's Slasher Flicks,
Angry Samoans,
Sam Rivers,
Nirvana,
Audionom,
Rhythm & Sound,
The Dave Clark Five,
Niagra,
Lalann,
Model 500,
Cheater Slicks,
Robert Hood,
The Velvet Underground,
Prince Buster,
the Normal,
Delta 5,
Jawbox,
The Neon Judgement,
Inner City,
Ituana,
Sandy B,
Crispian St. Peters,
Young Marble Giants,
The Walker Brothers,
Kerri Chandler,
Quantec,
Magma,
Tim Buckley,
Babytalk,
Darondo,
Scott Walker,
The Birthday Party,
the Human League,
Bill Near,
Ultramagnetic MC's,
Neu!,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.