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 Burkina and from Shanghai.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Lagos 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Harpers Bizarre to the punk kids.
I played it at Trash.
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 Howard Jones. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every 48th St. Collective 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Stereo Dub,
Jimmy McGriff,
Erasure,
The Index,
Eli Mardock,
The Seeds,
Bob Dylan,
The Pretty Things,
Harpers Bizarre,
Oneida,
Radiopuhelimet,
Cameo,
Derrick Morgan,
Interpol,
Visage,
Clear Light,
Letta Mbulu,
Neil Young & Crazy Horse,
Warsaw,
Little Man,
Gang Starr,
John Coltrane,
Alton Ellis,
The Knickerbockers,
Mission of Burma,
Notorious BIG live in Amsterdam,
Pulsallama,
John Holt,
Lyres,
The Star Department,
Art Ensemble Of Chicago,
Angry Samoans,
Man Eating Sloth,
The Five Americans,
Ronan,
Thee Headcoats,
David Axelrod,
Liaisons Dangereuses,
Mr. Review,
Andrew Hill,
Alphaville,
John Cale,
Amazonics,
Terror Squad Feat. Camron,
The Martian,
Guru Guru,
Adolescents,
the Bar-Kays,
Anthony Braxton,
The Durutti Column,
Soulsonic Force,
Dr. Dre and Snoop Doggy Dog,
Man Parrish,
Deadbeat,
The Alarm Clocks,
James White and The Blacks,
Matthew Halsall,
The Detroit Cobras,
Grandmaster Flash,
Infiniti,
Anakelly, Anakelly, Anakelly, Anakelly.
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.