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 Zimbabwe and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide 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 1969 to 1977.
I'm losing my edge.
To all the kids in Columbus and Spokane.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the organ 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 Howard Jones to the grime kids.
I played it at the Troubador.
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 The Saints. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses 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?
Funkadelic,
The Kinks,
Nas,
The Wake,
Lyres,
Deakin,
Crispian St. Peters,
Cal Tjader,
Television Personalities,
Boogie Down Productions,
Oppenheimer Analysis,
Lou Reed,
The Cramps,
Niagra,
Barrington Levy,
Be Bop Deluxe,
Todd Terry,
Don Cherry,
the Swans,
Groovy Waters,
Average White Band,
The West Coast Pop Art Experimental Band,
Ponytail,
Donald Byrd,
Infiniti,
The Zeros,
The Pop Group,
Absolute Body Control,
The Five Americans,
Aaron Thompson,
Kool G Rap & DJ Polo,
X-101,
Scan 7,
Freddie Wadling,
cv313,
Loose Ends,
Parry Music,
Grandmaster Flash,
Silicon Teens,
Skaos,
The Blues Magoos,
Frankie Knuckles,
The Sound,
Mission of Burma,
John Cale,
The Residents,
Yaz,
This Heat,
De La Soul & Jungle Brothers,
Mars,
the Association,
The Music Machine,
Amon Düül II,
Neu!,
EPMD,
Wally Richardson,
LL Cool J,
Severed Heads,
Matthew Halsall,
Rekid,
Quantec,
La Düsseldorf,
Y Pants,
ABC, ABC, ABC, ABC.
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.