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 Pakistan and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Manila.
I'm losing my edge to the art-school Mexico City 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 Feelies practice in a loft in Haledon.
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 James Chance & The Contortions to the funk 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 Gang of Four. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
Roxy Music,
The Dave Clark Five,
Oneida,
Spandau Ballet,
The Wake,
James White and The Blacks,
The Divine Comedy,
Qualms,
Andrew Ashong & Theo Parrish,
Oblivians,
the Swans,
Gabor Szabo,
Symarip,
Captain Beefheart & His Magic Band,
Terrestrial Tones,
New Order,
Albert Ayler,
Ice-T,
The Doors,
Dual Sessions,
Gang of Four,
Prince Buster,
Panda Bear,
The Fire Engines,
Danielle Patucci,
Electric Prunes,
Model 500,
Jacob Miller,
Basic Channel,
Talk Talk,
Ronnie Foster,
Echospace,
Todd Terry,
Junior Murvin,
Parry Music,
Joe Finger,
Nick Fraelich,
June of 44,
Peter & Gordon,
Clear Light,
Lonnie Liston Smith,
48th St. Collective,
David McCallum,
Electric Light Orchestra,
Selector Dub Narcotic,
Can,
Don Cherry,
Jawbox,
Country Teasers,
The Red Krayola,
The Move,
Alphaville,
Outsiders,
Grauzone,
Quadrant,
Fugazi,
Deepchord,
Depeche Mode,
Bronski Beat,
The Gories,
Monolake, Monolake, Monolake, Monolake.
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.