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 Macedonia and from Paris.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Johannesburg 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Aaron Thompson to the disco kids.
I played it at CBGB's.
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 Section 25. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Residents record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Eve St. Jones,
Mark Hollis,
Oneida,
Lindisfarne,
Deepchord,
Basic Channel,
The Techniques,
Arab on Radar,
Second Layer,
Barrington Levy,
Stockholm Monsters,
Television,
Eyeless In Gaza,
Clear Light,
The Music Machine,
Bill Near,
Blake Baxter,
Circle Jerks,
Crispian St. Peters,
Ken Boothe,
Aural Exciters,
Jesper Dahlbäck,
Rakim,
Electric Prunes,
Eric Dolphy,
Harpers Bizarre,
Grandmaster Flash,
Gabor Szabo,
Youth Brigade,
Con Funk Shun,
Faust,
Surgeon,
Franke,
Donald Byrd,
Smog,
Ponytail,
Crime,
Warren Ellis,
Q and Not U,
The Motions,
Flamin' Groovies,
The Knickerbockers,
Camberwell Now,
Black Flag,
X-101,
Whodini,
The Gories,
The Trojans,
10cc,
Silicon Teens,
Scientists,
Althea and Donna,
Nico,
Radiohead,
The Remains,
Mission of Burma,
the Sonics,
The Wake,
Danielle Patucci,
The Sonics,
Joey Negro,
The Divine Comedy,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.