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 Sri Lanka and from Edmonton.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lille and Woodstock.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Blancmange to the rock 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 Ken Boothe. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Adolescents 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Shuggie Otis,
Slave,
Anakelly,
The Fugs,
Gregory Isaacs,
Scratch Acid,
The Gun Club,
Monks,
Peter Gordon & Love of Life Orchestra,
Motorama,
Gil Scott-Heron and Jamie xx,
Depeche Mode,
Siouxsie and the Banshees,
Ultravox,
Eve St. Jones,
Howard Jones,
Kauko Röyhkä ja Narttu,
Parry Music,
Pharoah Sanders,
Flipper,
The Barracudas,
Brothers Johnson,
Graham Central Station,
Soul Sonic Force,
Röyhkä ja Rättö ja Lehtisalo,
Manfred Mann's Earth Band,
Sly & The Family Stone,
Warsaw,
Deakin,
The Dave Clark Five,
Scrapy,
Traffic Nightmare,
The Modern Lovers,
CMW,
Sällskapet,
Johnny Osbourne,
Mission of Burma,
Avey Tare's Slasher Flicks,
Lower 48,
Teenage Jesus and the Jerks,
Black Sheep,
New Age Steppers,
Matthew Halsall,
Black Bananas,
The Gories,
The Remains,
Pierre Henry,
Quando Quango,
Silicon Teens,
Skaos,
Harry Pussy,
DJ Style,
T.S.O.L.,
Hot Snakes,
Malaria!,
Banda Bassotti,
Public Enemy,
Stiv Bators,
The Gladiators,
Eric B and Rakim,
Connie Case,
The Martian,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.