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 Paraguay and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1971.
I'm losing my edge.
To all the kids in Lille and Lille.
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 at the first Suicide practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Howard Jones to the crunk kids.
I played it at the 40 Watt.
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 Eurythmics. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Eric B and Rakim 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 '80s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves 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?
the Fania All-Stars,
OOIOO,
Angels of Light & Akron/Family,
Section 25,
Joe Finger,
Fat Boys,
Colin Newman,
Slave,
Soul II Soul,
Thee Headcoats,
Nas,
The Shadows of Knight,
Toni Rubio,
The Detroit Cobras,
The Motions,
The Toasters,
Bob Dylan,
Kings Of Tomorrow,
Amazonics,
Nick Cave & The Bad Seeds,
Alphaville,
Altered Images,
The Dirtbombs,
Popol Vuh,
The Index,
Cameo,
Public Image Ltd.,
X-Ray Spex,
Inner City,
Ajijia Myrayebe,
Wasted Youth,
Big Daddy Kane,
Gerry Rafferty,
Lebanon Hanover,
Sight & Sound,
Avey Tare,
Morten Harket,
Yaz,
Mo-Dettes,
Ossler,
ABBA,
Joy Division,
Howard Jones,
The Black Dice,
Darondo,
Arab on Radar,
Angry Samoans,
Sunsets and Hearts,
The Durutti Column,
Half Japanese,
Piero Umiliani,
Average White Band,
Yellowson,
Larry & the Blue Notes,
Al Stewart,
The Gun Club,
The Offenders,
Peter & Gordon,
The Royal Family And The Poor,
Marine Girls,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.