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 Grenada and from London.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Edmonton and London.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the guitar 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 The Beau Brummels to the funk kids.
I played it at the Hacienda.
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 Jacob Miller. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every Delon & Dalcan 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Sonny Sharrock,
Kango’s Stein Massive,
Spoonie Gee,
Echo & the Bunnymen,
Be Bop Deluxe,
Lonnie Liston Smith,
Lee Hazlewood,
Youth Brigade,
Leonard Cohen,
The Dave Clark Five,
Ten City,
Cybotron,
Rapeman,
Nik Kershaw,
ABBA,
Flash Fearless,
Pharaoh Sanders and the Fire Engines,
Sparks,
Bang on a Can All-Stars,
The Fire Engines,
Dual Sessions,
Chris Corsano,
Ultramagnetic MC's,
Index,
The Buckinghams,
Average White Band,
Barrington Levy,
E-Dancer,
Mark Hollis,
Glambeats Corp.,
Kings Of Tomorrow,
Moebius,
The Fuzztones,
Bobby Byrd,
Ralphi Rosario,
Pete Rock & C.L. Smooth,
A Flock of Seagulls,
Wally Richardson,
Los Fastidios,
Procol Harum,
The Fugs,
Mandrill,
Althea and Donna,
Echospace,
Lindisfarne,
Quadrant,
The Gun Club,
Adolescents,
Bobby Sherman,
Stockholm Monsters,
Sandy B,
Dr. Dre and Snoop Doggy Dog,
Bob Dylan,
Interpol,
Little Man,
Gabor Szabo,
Wire,
Fear,
X-Ray Spex,
Can,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.