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 Madagascar and from Hong Kong.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Manila and Salvador.
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 1978 at the first Visage practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Godley & Creme to the rock 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 Marcia Griffiths. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Alton Ellis 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 '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Monks,
Notorious Big And Bone Thugs,
Gang Starr,
The Residents,
Hoover,
Liaisons Dangereuses,
Prince Buster,
Rites of Spring,
Angels of Light & Akron/Family,
The Walker Brothers,
Scientists,
John Lydon,
Donald Byrd,
Desert Stars,
The Cure,
Barrington Levy,
World's Most,
The Tremeloes,
The Detroit Cobras,
Mantronix,
Soul Sonic Force,
Electric Light Orchestra,
Cecil Taylor,
KRS-One,
Yellowson,
Reuben Wilson,
Howard Jones,
Nation of Ulysses,
Alice Coltrane,
Erasure,
Harmonia,
Grey Daturas,
Todd Rundgren,
Au Pairs,
Lalann,
Amazonics,
Ohio Players,
The Mummies,
Grauzone,
Rotary Connection,
Unwound,
The Blackbyrds,
The Happenings,
The Leaves,
Yazoo,
Rakim,
The Black Dice,
Hasil Adkins,
Minnie Riperton,
DNA,
The Saints,
X-Ray Spex,
Angry Samoans,
F. McDonald,
Skaos,
Dorothy Ashby,
Thee Headcoats,
Swans,
Robert Wyatt,
Jerry's Kids,
Bobby Byrd,
Eden Ahbez,
The Slits, The Slits, The Slits, The Slits.
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.