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 Djibouti and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1963 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Halifax.
I'm losing my edge to the art-school Milan 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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Shoche to the dance kids.
I played it at Trash.
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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Ornette Coleman,
Sad Lovers and Giants,
The Red Krayola,
Steve Hackett,
Smog,
Mary Jane Girls,
Shuggie Otis,
Eve St. Jones,
Michelle Simonal,
Agent Orange,
Andrew Ashong & Theo Parrish,
Gabor Szabo,
Jesper Dahlback,
Funkadelic,
The Sisters of Mercy,
The Dirtbombs,
Rod Modell,
Pylon,
Donny Hathaway,
Oppenheimer Analysis,
Con Funk Shun,
Icehouse,
James Chance & The Contortions,
De La Soul & Jungle Brothers,
Cybotron,
Supertramp,
Judy Mowatt,
Flash Fearless,
Roxette,
Ultravox,
Pere Ubu,
Franke,
Subhumans,
Josef K,
The Detroit Cobras,
Rahsaan Roland Kirk,
B.T. Express,
KRS-One,
DNA,
The Martian,
Echo & the Bunnymen,
Bronski Beat,
Kool Moe Dee,
Oneida,
Hardrive,
The Monks,
Siouxsie and the Banshees,
Neu!,
Susan Cadogan,
Gil Scott Heron,
Al Stewart,
Kurtis Blow,
Roxy Music,
The Blackbyrds,
Skarface,
Selector Dub Narcotic,
Theoretical Girls,
Scion,
The Associates,
Rotary Connection,
Accadde A,
Crash Course in Science,
Connie Case, Connie Case, Connie Case, Connie Case.
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.