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 Estonia and from Winnipeg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1975.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Portland 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 güiro 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 Invisible to the grunge kids.
I played it at the Crocodile.
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 Siouxsie and the Banshees. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal electroclash 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 a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Slave,
Sad Lovers and Giants,
Pharoah Sanders,
Hot Snakes,
Hardrive,
New Order,
Andrew Hill,
Altered Images,
Rites of Spring,
The Divine Comedy,
China Crisis,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Selecter,
Bob Dylan,
Cluster,
Steve Hackett,
Mark Hollis,
Lafayette Afro Rock Band,
Marine Girls,
Black Bananas,
the Soft Cell,
Bobby Sherman,
David Axelrod,
Joe Smooth,
Parry Music,
Sixth Finger,
The Knickerbockers,
The Flesh Eaters,
Lalann,
E-Dancer,
The Smiths,
Yusef Lateef,
Nick Cave & The Bad Seeds,
Iggy Pop,
Bronski Beat,
Ludus,
DJ Sneak,
James White and The Blacks,
MC5,
David McCallum,
Wally Richardson,
Con Funk Shun,
Aloha Tigers,
Blake Baxter,
Drive Like Jehu,
Minutemen,
Agitation Free,
Dark Day,
Traffic Nightmare,
Ice-T,
The Dave Clark Five,
Amazonics,
Jeru the Damaja,
Vaughan Mason & Crew,
Desert Stars,
Slick Rick,
Rod Modell,
Marc Almond,
Flipper,
Lalo Schifrin, Lalo Schifrin, Lalo Schifrin, Lalo Schifrin.
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.