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 Romania and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1964 to 1978.
I'm losing my edge.
To all the kids in Tehran and Bologna.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Jeff Lynne to the crunk kids.
I played it at Trash.
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 A Flock of Seagulls. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Underground Resistance 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
Alison Limerick,
Black Moon,
Cybotron,
The Golliwogs,
The Alarm Clocks,
Alphaville,
Mad Mike,
Strawberry Alarm Clock,
Flamin' Groovies,
London Community Gospel Choir,
Subhumans,
The New Christs,
Popol Vuh,
The Cure,
Soft Cell,
Jeru the Damaja,
Jandek,
Magma,
Hoover,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gladiators,
Bob Dylan,
Blancmange,
Youth Brigade,
F. McDonald,
The Fire Engines,
Boz Scaggs,
X-102,
Siglo XX,
Dr. Dre and Snoop Doggy Dog,
The Fugs,
Echospace,
Young Marble Giants,
Franke,
Easy Going,
Man Parrish,
MDC,
Jerry Gold Smith,
Ronnie Foster,
Mandrill,
the Association,
Bootsy's Rubber Band,
The Raincoats,
Joe Finger,
Gian Franco Pienzio,
Erasure,
Darondo,
Althea and Donna,
Louis and Bebe Barron,
Trumans Water,
The Modern Lovers,
The Last Poets,
the Human League,
Harmonia,
Ralphi Rosario,
Nick Fraelich,
Lakeside,
The Kinks,
Orchestral Manoeuvres in the Dark,
Todd Terry,
The Monochrome Set,
Bluetip,
Angry Samoans,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.