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 Senegal and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Manila 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 Tom Verlaine 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 Barrington Levy to the dance kids.
I played it at the Spitz.
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 Lou Christie. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your organ and bought a marimba.
I hear that you and your band have sold your marimba and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Angry Samoans,
Soul Sonic Force,
Brand Nubian,
Bizarre Inc.,
Major Organ And The Adding Machine,
The Star Department,
Vaughan Mason & Crew,
The Victims,
De La Soul & Jungle Brothers,
The Men They Couldn't Hang,
Justin Hinds & The Dominoes,
Glambeats Corp.,
Jeff Lynne,
Gichy Dan,
Pussy Galore,
the Human League,
E-Dancer,
Delon & Dalcan,
Bobby Byrd,
Minutemen,
The Fire Engines,
Gong,
Frankie Knuckles,
Moebius,
The Flesh Eaters,
Lizzy Mercier Descloux,
Todd Terry,
Marshall Jefferson,
Blancmange,
Pere Ubu,
Gabor Szabo,
Shuggie Otis,
The Walker Brothers,
Motorama,
La Düsseldorf,
Popol Vuh,
Art Ensemble Of Chicago,
Siouxsie and the Banshees,
Agent Orange,
Larry & the Blue Notes,
Soft Cell,
The Shadows of Knight,
Arcadia,
The Skatalites,
Bronski Beat,
James White and The Blacks,
Manfred Mann's Earth Band,
Kas Product,
Selector Dub Narcotic,
Soft Machine,
The Monks,
The Electric Prunes,
John Foxx,
The Slits,
The Mighty Diamonds,
Captain Beefheart & His Magic Band,
The Blues Magoos,
Average White Band,
Kool Moe Dee,
A Certain Ratio,
Wire, Wire, Wire, Wire.
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.