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 Italy and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1973.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school Calgary 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Aaron Thompson to the rap kids.
I played it at the Spitz.
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 Spandau Ballet. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Peter Gordon & Love of Life Orchestra,
Ultramagnetic MC's,
Eyeless In Gaza,
The Leaves,
Jeru the Damaja,
Oppenheimer Analysis,
the Association,
Minor Threat,
Smog,
Oblivians,
Marc Romboy vs. Booka Shade,
X-102,
EPMD,
Jandek,
Barrington Levy,
Bauhaus,
Heaven 17,
Japan,
Dave Gahan,
Strawberry Alarm Clock,
The Seeds,
The Evens,
The Golliwogs,
Joey Negro,
Minnie Riperton,
The Moody Blues,
The Blackbyrds,
Hashim,
La Düsseldorf,
Crispian St. Peters,
Lindisfarne,
T. Rex,
the Human League,
Babytalk,
Crime,
Cymande,
Echo & the Bunnymen,
The Grass Roots,
Porter Ricks,
Quantec,
Gichy Dan,
Banda Bassotti,
Qualms,
Pere Ubu,
Zapp,
Gang Gang Dance,
Henry Cow,
Grey Daturas,
Swans,
Al Stewart,
The Mummies,
Röyhkä ja Rättö ja Lehtisalo,
Guru Guru,
Don Cherry,
Man Parrish,
Deakin,
Fluxion,
The Doobie Brothers,
Gian Franco Pienzio,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.