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 Ethiopia and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Halifax and London.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Ash Ra Tempel to the jazz 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 Electric Light Orchestra. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every The Dave Clark Five 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Eric B and Rakim,
Joy Division,
Saccharine Trust,
X-101,
Von Mondo,
The Motions,
Barbara Tucker,
Erykah Badu,
Sight & Sound,
Gil Scott Heron,
The Five Americans,
Brick,
Matthew Bourne,
Half Japanese,
The Associates,
Wire,
Scientists,
Sun City Girls,
The Peanut Butter Conspiracy,
Visage,
Gregory Isaacs,
Motorama,
Sällskapet,
The Zeros,
X-102,
Sly & The Family Stone,
Joe Smooth,
Cabaret Voltaire,
Neil Young,
Yaz,
Sexual Harrassment,
Deepchord,
Babytalk,
Average White Band,
Althea and Donna,
La Düsseldorf,
Funky Four + One,
Pole,
Gang of Four,
The Monochrome Set,
Danielle Patucci,
Bad Manners,
the Human League,
Pantaleimon,
Mary Jane Girls,
Pierre Henry,
Pharoah Sanders,
Quando Quango,
Erasure,
Lyres,
Dead Boys,
E-Dancer,
Ultimate Spinach,
Orchestral Manoeuvres in the Dark,
Robert Hood,
Vladislav Delay,
U.S. Maple,
Gian Franco Pienzio,
Nick Cave & The Bad Seeds,
The Offenders,
Crispian St. Peters,
Cecil Taylor,
Lakeside,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.