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 Switzerland and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 Tomorrow to the dance kids.
I played it at the Astoria.
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 The Cowsills. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Essential Logic,
48th St. Collective,
James Chance & The Contortions,
DJ Sneak,
Dennis Brown,
Alison Limerick,
Heaven 17,
Monolake,
Soft Cell,
Harmonia,
Stetsasonic,
Hoover,
Animal Collective,
The Mummies,
Josef K,
Bang on a Can All-Stars,
Sugar Minott,
Marmalade,
Pharoah Sanders,
DJ Style,
Flash Fearless,
Barrington Levy,
Cabaret Voltaire,
Gary Puckett & The Union Gap,
The Index,
Hardrive,
Swell Maps,
Brothers Johnson,
Skriet,
Bobby Womack,
Second Layer,
Scott Walker,
Erasure,
Kerrie Biddell,
Johnny Clarke,
Neu!,
Lower 48,
World's Most,
Aloha Tigers,
Marvin Gaye,
The Tremeloes,
Make Up,
Andrew Ashong & Theo Parrish,
The Toasters,
Chris & Cosey,
Suicide,
X-101,
Roxette,
David Bowie,
Fatback Band,
Black Bananas,
Flamin' Groovies,
Unwound,
Godley & Creme,
The Pop Group,
Man Parrish,
Main Source,
Amon Düül II,
Bad Manners,
Matthew Bourne,
ABBA,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.