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 Mongolia and from Tehran.
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 1979.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school Tokyo 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 Chic practice in a loft in New York.
I was working on the 808 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 The Pop Group 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 Bill Near. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Kauko Röyhkä ja Narttu,
Wally Richardson,
A Flock of Seagulls,
Qualms,
Nas,
Echospace,
Deakin,
Rakim,
Tubeway Army,
Fear,
Technova,
Mark Hollis,
Eddi Front,
Rosa Yemen,
Don Cherry,
The Real Kids,
The Pretty Things,
Bush Tetras,
The Litter,
Traffic Nightmare,
Scratch Acid,
Wings,
Glambeats Corp.,
Porter Ricks,
Babytalk,
Bobby Womack,
Maleditus Sound,
The Mummies,
The Star Department,
Archie Shepp,
Newcleus,
Heavy D & The Boyz,
Swell Maps,
Fluxion,
Dawn Penn,
Janne Schatter,
Pussy Galore,
Con Funk Shun,
Sound Behaviour,
Whodini,
Dave Gahan,
Khruangbin,
The Offenders,
Pierre Henry,
John Cale,
Bobbi Humphrey,
Judy Mowatt,
Young Marble Giants,
Barbara Tucker,
The Zeros,
Echo & the Bunnymen,
The Doors,
Michelle Simonal,
Banda Bassotti,
The Martian,
Eyeless In Gaza,
Fela Kuti,
Jacob Miller,
H. Thieme,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.