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 Netherlands and from Stockholm.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Woodstock 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 Feelies practice in a loft in Haledon.
I was working on the mellotron 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 Girls At Our Best! to the techno 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 Davy DMX. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Stetsasonic,
Eve St. Jones,
The Star Department,
Dead Boys,
Skriet,
Terrestrial Tones,
Kings Of Tomorrow,
Pet Shop Boys,
Amon Düül,
Hardrive,
Letta Mbulu,
Leonard Cohen,
Don Cherry,
Patti Smith,
Arthur Verocai,
Darondo,
The Evens,
Nik Kershaw,
Eric B and Rakim,
Babytalk,
Masters at Work,
Ituana,
Rowland S Howard / Lydia Lunch,
Todd Rundgren,
Erasure,
Freddie Wadling,
Scrapy,
The New Christs,
Electric Light Orchestra,
Orchestral Manoeuvres in the Dark,
OOIOO,
Curtis Mayfield,
D'Angelo,
De La Soul & Jungle Brothers,
Outsiders,
Connie Case,
Gil Scott-Heron and Jamie xx,
Flash Fearless,
Lower 48,
Tim Buckley,
Wire,
Derrick Morgan,
Heaven 17,
KRS-One,
The Men They Couldn't Hang,
Alton Ellis,
Loose Ends,
Mantronix,
The Fuzztones,
Crispy Ambulance,
Kool G Rap & DJ Polo,
Kenny Larkin,
The Dirtbombs,
Cheater Slicks,
Q65,
Fat Boys,
The Divine Comedy,
Cecil Taylor,
Piero Umiliani,
Wasted Youth,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.