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 Malaysia and from Toronto.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school London 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 linndrum 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 Interpol to the crunk kids.
I played it at the Astoria.
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 La Düsseldorf. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Man Parrish 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Funkadelic,
Adolescents,
Morten Harket,
Icehouse,
Bizarre Inc.,
Scan 7,
8 Eyed Spy,
Pantytec,
David Axelrod,
Drive Like Jehu,
The Misunderstood,
Cameo,
PIL,
The Flesh Eaters,
Sarah Menescal,
Lungfish,
Slick Rick,
Freddie Wadling,
The Victims,
MC5,
The Remains,
Rakim,
Eric B and Rakim,
In Retrospect,
Public Image Ltd.,
The Doobie Brothers,
Man Eating Sloth,
Glambeats Corp.,
Monks,
The Blues Magoos,
Malaria!,
June Days,
Henry Cow,
Lee Hazlewood,
The Litter,
Livin' Joy,
Minor Threat,
This Heat,
Grandmaster Flash,
the Association,
Roxy Music,
Monolake,
Beasts of Bourbon,
Sparks,
Gang Gang Dance,
Pete Rock & C.L. Smooth,
Sugar Minott,
The Mighty Diamonds,
Joy Division,
Grandmaster Flash and the Furious Five,
Los Fastidios,
Model 500,
Newcleus,
Charles Mingus,
The Gun Club,
Bootsy's Rubber Band,
Tim Buckley,
Anthony Braxton,
The American Breed,
Connie Case,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.