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 Czech Republic and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1969 to 1976.
I'm losing my edge.
To all the kids in Milan and Madrid.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Sparks to the techno 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 Oneida. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Sam Rivers,
Tubeway Army,
The West Coast Pop Art Experimental Band,
Groovy Waters,
Theoretical Girls,
X-101,
Piero Umiliani,
Soulsonic Force,
Gong,
David McCallum,
Skarface,
Scion,
Massinfluence,
Clear Light,
Kenny Larkin,
Scratch Acid,
Bluetip,
Curtis Mayfield,
The Black Dice,
48th St. Collective,
Teenage Jesus and the Jerks,
Pharaoh Sanders and the Fire Engines,
Black Sheep,
Crooked Eye,
Half Japanese,
Eden Ahbez,
ABC,
Deadbeat,
Eddi Front,
Man Parrish,
Erasure,
La Düsseldorf,
Alison Limerick,
Cheater Slicks,
The Birthday Party,
Boredoms,
Lee Hazlewood,
Visage,
Wings,
The Fuzztones,
the Human League,
Television Personalities,
Soul Sonic Force,
Marmalade,
Fluxion,
Amon Düül,
Arthur Verocai,
The Offenders,
Siouxsie and the Banshees,
Bob Dylan,
Bobby Byrd,
LL Cool J,
Wolf Eyes,
David Bowie,
Gabor Szabo,
The Stooges,
Marc Almond,
Au Pairs,
Gregory Isaacs,
Chris & Cosey,
Black Pus, Black Pus, Black Pus, Black Pus.
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.