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 Paraguay and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1971.
I'm losing my edge.
To all the kids in Cairo and Paris.
I'm losing my edge to the art-school Milan 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 arpeggiator 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 David McCallum to the rap kids.
I played it at Cafe Wha.
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 Depeche Mode. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Max Romeo 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 '80s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Roxette,
Sister Nancy,
Laurel Aitken,
Boz Scaggs,
Joe Smooth,
Silicon Teens,
Siglo XX,
The Durutti Column,
Spoonie Gee,
Clear Light,
The Victims,
Dual Sessions,
Avey Tare,
Alison Limerick,
The Alarm Clocks,
Black Bananas,
Marc Romboy vs. Booka Shade,
Duran Duran,
Big Daddy Kane,
Animal Collective,
Major Organ And The Adding Machine,
The Jesus and Mary Chain,
Country Joe & The Fish,
Blossom Toes,
Grandmaster Flash,
Fat Boys,
Youth Brigade,
Public Enemy,
Lou Christie,
The West Coast Pop Art Experimental Band,
Pole,
Nas,
F. McDonald,
Chris & Cosey,
Moebius,
Curtis Mayfield,
Eric Copeland,
Blake Baxter,
Faust,
Crispian St. Peters,
The Trojans,
Yellowson,
The Associates,
Kurtis Blow,
Loose Ends,
Electric Prunes,
Slave,
Lee Hazlewood,
Pere Ubu,
The Selecter,
Pantytec,
Spandau Ballet,
The Seeds,
Prince Buster,
Lucky Dragons,
Funkadelic,
Glambeats Corp.,
Rapeman,
The Remains,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.