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 Bangladesh and from London.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Lille 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 Chic practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Warren Ellis to the grunge kids.
I played it at the 40 Watt.
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 Lalo Schifrin. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Big Daddy Kane,
Morten Harket,
Barbara Tucker,
John Coltrane,
The Jesus and Mary Chain,
Stiv Bators,
Second Layer,
Moss Icon,
Pete Rock & C.L. Smooth,
Underground Resistance,
Roxette,
Lizzy Mercier Descloux,
Audionom,
Junior Murvin,
Nik Kershaw,
ABC,
Bauhaus,
The Wake,
Kaleidoscope,
John Holt,
Tubeway Army,
Absolute Body Control,
Prince Buster,
The Motions,
Panda Bear,
The Cowsills,
Eli Mardock,
Joe Smooth,
Quadrant,
Skaos,
Von Mondo,
Ossler,
The Gun Club,
The United States of America,
Eric B and Rakim,
It's A Beautiful Day,
Drive Like Jehu,
The Kinks,
B.T. Express,
The Gap Band,
Terry Callier,
The Selecter,
Ituana,
Kas Product,
Donald Byrd,
Bobby Hutcherson,
Eurythmics,
Bob Dylan,
Johnny Clarke,
Main Source,
Rotary Connection,
DJ Style,
A Certain Ratio,
Man Parrish,
The Red Krayola,
Pantytec,
Supertramp,
Whodini,
Howard Jones,
R.M.O.,
Ash Ra Tempel,
Slave,
Alphaville, Alphaville, Alphaville, Alphaville.
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.