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 Dominican Republic and from New York.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1969 to 1973.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Toronto 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 chamberlin 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 Jesper Dahlbäck to the disco 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 Louis and Bebe Barron. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every Oneida 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
Fat Boys,
Cabaret Voltaire,
EPMD,
Franke,
Crime,
Reagan Youth,
Nation of Ulysses,
Main Source,
Negative Approach,
Marmalade,
The Index,
The Cure,
Eddi Front,
Organ,
Donald Byrd,
Flipper,
Lebanon Hanover,
Kerri Chandler,
The Standells,
Andrew Hill,
Dave Gahan,
Vladislav Delay,
David Axelrod,
Junior Murvin,
The Techniques,
Jeru the Damaja,
The American Breed,
Kas Product,
the Fania All-Stars,
Echospace,
Slave,
The Mummies,
Tom Boy,
The Music Machine,
Fela Kuti,
UT,
Charles Mingus,
Be Bop Deluxe,
Delta 5,
X-101,
Q and Not U,
D'Angelo,
X-102,
Icehouse,
The Smiths,
Eden Ahbez,
Gary Puckett & The Union Gap,
Skaos,
Whodini,
Camron Feat. Jay Z And Juelz,
Outsiders,
Leonard Cohen,
In Retrospect,
Radiopuhelimet,
Nas,
Fad Gadget,
Black Flag,
Lizzy Mercier Descloux,
World's Most,
Lonnie Liston Smith,
Newcleus,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.