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 Syria and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television 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 1966 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Subhumans to the crunk kids.
I played it at the Roxy.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Dual Sessions,
Gil Scott-Heron & Brian Jackson,
The Divine Comedy,
Arcadia,
Gichy Dan,
Josef K,
Soft Machine,
Buzzcocks,
Gregory Isaacs,
Pere Ubu,
Derrick May,
Yazoo,
The Toasters,
Johnny Clarke,
Country Teasers,
The Modern Lovers,
Slave,
New Order,
Quadrant,
Tommy Roe,
Gang of Four,
The Doobie Brothers,
Alphaville,
Harmonia,
Rhythm & Sound,
Bobby Sherman,
Rapeman,
Unrelated Segments,
Von Mondo,
Al Stewart,
Severed Heads,
Rufus Thomas,
Be Bop Deluxe,
Sly & The Family Stone,
Echo & the Bunnymen,
Amazonics,
Drexciya,
Freddie Wadling,
Tim Buckley,
Khruangbin,
Dead Boys,
The Dave Clark Five,
Darondo,
Andrew Ashong & Theo Parrish,
Circle Jerks,
The Trojans,
Yusef Lateef,
Kings Of Tomorrow,
Fifty Foot Hose,
The New Christs,
Agent Orange,
Minor Threat,
Quantec,
CMW,
The West Coast Pop Art Experimental Band,
Grandmaster Flash and the Furious Five,
Ash Ra Tempel,
The Buckinghams,
DJ Sneak,
Make Up,
Hasil Adkins,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.