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 Niger and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Houston.
I'm losing my edge to the art-school Accra 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Young Marble Giants to the rock 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 Barbara Tucker. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
ABC,
Tears for Fears,
Country Joe & The Fish,
Bauhaus,
Gian Franco Pienzio,
Gichy Dan,
Kango’s Stein Massive,
The Techniques,
Marmalade,
The Toasters,
Mr. Review,
Soft Cell,
Todd Terry,
Jeff Lynne,
Essential Logic,
Nik Kershaw,
Nick Fraelich,
Alison Limerick,
Grauzone,
Pierre Henry,
Dawn Penn,
Gil Scott Heron,
Motorama,
Rotary Connection,
Rahsaan Roland Kirk,
Marshall Jefferson,
The Fall,
Big Daddy Kane,
John Foxx,
Spoonie Gee,
Roxy Music,
Japan,
Television Personalities,
Sad Lovers and Giants,
EPMD,
Kauko Röyhkä ja Narttu,
These Immortal Souls,
Man Eating Sloth,
Mad Mike,
The Monochrome Set,
Swans,
The Divine Comedy,
The Index,
Donald Byrd,
Bobbi Humphrey,
Max Romeo,
48th St. Collective,
Rod Modell,
Radio Birdman,
MDC,
Thinking Fellers Union Local 282,
Magma,
Ultravox,
Joy Division,
Agent Orange,
Pantytec,
The Move,
Lower 48,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Pop Group,
Cal Tjader,
The American Breed, The American Breed, The American Breed, The American Breed.
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.