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 New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Cairo.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
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 Fania All-Stars to the grime 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 Chrome. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Moebius record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Funkadelic,
Electric Prunes,
Scott Walker,
Basic Channel,
Tropical Tobacco,
Manfred Mann's Earth Band,
Ludus,
B.T. Express,
Janne Schatter,
Sound Behaviour,
Rekid,
Steve Hackett,
Ken Boothe,
The Invisible,
Röyhkä ja Rättö ja Lehtisalo,
Average White Band,
Teenage Jesus and the Jerks,
Lou Christie,
Simply Red,
Chris & Cosey,
Pagans,
John Coltrane,
Silicon Teens,
New York Dolls,
Scratch Acid,
The Vogues,
The Tremeloes,
Absolute Body Control,
The Men They Couldn't Hang,
Fort Wilson Riot,
Rites of Spring,
Rhythim Is Rhythim,
Max Romeo,
Con Funk Shun,
Delta 5,
Davy DMX,
Rufus Thomas,
Ornette Coleman,
Avey Tare,
Arcadia,
Mo-Dettes,
Whodini,
Orchestral Manoeuvres in the Dark,
Duran Duran,
Yaz,
Deepchord,
Peter and Kerry,
Popol Vuh,
Black Bananas,
David Axelrod,
Blake Baxter,
The Evens,
A Certain Ratio,
The Mighty Diamonds,
Jeru the Damaja,
Dorothy Ashby,
Visage,
Royal Trux,
Sex Pistols,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.