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 Mongolia and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
I'm losing my edge to the art-school Manila 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare 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 Cluster to the electroclash 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 Spandau Ballet. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every the Association 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Justin Hinds & The Dominoes,
Dead Boys,
Robert Görl,
Altered Images,
Outsiders,
Agitation Free,
Masters at Work,
Robert Hood,
Major Organ And The Adding Machine,
Strawberry Alarm Clock,
OOIOO,
Audionom,
UT,
Minor Threat,
Kango’s Stein Massive,
Captain Beefheart & His Magic Band,
Royal Trux,
Pharoah Sanders,
The Grass Roots,
John Coltrane,
Lakeside,
Marmalade,
Sun City Girls,
Kool G Rap & DJ Polo,
The Skatalites,
Kerri Chandler,
ABC,
Robert Wyatt,
Steve Hackett,
LL Cool J,
Echo & the Bunnymen,
The United States of America,
Scientists,
Kas Product,
ABBA,
Technova,
Bang On A Can,
Boogie Down Productions,
Liaisons Dangereuses,
The Flesh Eaters,
Slick Rick,
Delta 5,
Marc Almond,
China Crisis,
Skarface,
Drexciya,
cv313,
Lou Reed,
Eddi Front,
X-101,
Al Stewart,
Index,
Minny Pops,
Spandau Ballet,
Marshall Jefferson,
Bang on a Can All-Stars,
Mary Jane Girls,
Rapeman,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.