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 United Kingdom and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Freddie Wadling 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 David McCallum. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Brand Nubian 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
The Beau Brummels,
The Sound,
David Axelrod,
Derrick May,
Agent Orange,
Jeff Lynne,
Danielle Patucci,
Con Funk Shun,
Gary Puckett & The Union Gap,
London Community Gospel Choir,
Sight & Sound,
Man Eating Sloth,
Cabaret Voltaire,
Scrapy,
The Move,
Heavy D & The Boyz,
Black Sheep,
Black Moon,
The Saints,
John Foxx,
Susan Cadogan,
Ash Ra Tempel,
James White and The Blacks,
Yellowson,
Jimmy McGriff,
Camberwell Now,
the Normal,
Television,
Deepchord,
Hardrive,
Amazonics,
Bang on a Can All-Stars,
Kas Product,
Erasure,
Main Source,
This Heat,
Country Joe & The Fish,
Todd Terry,
Crispy Ambulance,
The Victims,
Make Up,
Rakim,
Skriet,
Bauhaus,
Angry Samoans,
Faust,
Nick Fraelich,
The Martian,
Q65,
Arcadia,
The Happenings,
Mo-Dettes,
Röyhkä ja Rättö ja Lehtisalo,
Fat Boys,
The Walker Brothers,
Roxy Music,
Marvin Gaye,
Porter Ricks,
Boredoms,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.