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 Haiti and from Delhi.
But I was there.
I was there in 1973.
I was there at the first Television 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 1960 to 1972.
I'm losing my edge.
To all the kids in Paris and Bremen.
I'm losing my edge to the art-school Winnipeg 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Byron Stingily to the rap kids.
I played it at the Hacienda.
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 Louis and Bebe Barron. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every PIL 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Jacques Brel,
Make Up,
The Sisters of Mercy,
Dual Sessions,
Pharaoh Sanders and the Fire Engines,
One Last Wish,
June of 44,
Lee Hazlewood,
Desert Stars,
B.T. Express,
Gil Scott-Heron & Brian Jackson,
Neil Young & Crazy Horse,
Mandrill,
OOIOO,
Half Japanese,
Little Man,
Nation of Ulysses,
Jerry's Kids,
Junior Murvin,
Kevin Saunderson,
The Smiths,
The Trojans,
Sexual Harrassment,
Dave Gahan,
Funkadelic,
The Mighty Diamonds,
Ice-T,
Model 500,
the Soft Cell,
Tears for Fears,
Main Source,
Cabaret Voltaire,
Con Funk Shun,
Heaven 17,
Ken Boothe,
Reagan Youth,
The Litter,
Kerrie Biddell,
Alison Limerick,
Beasts of Bourbon,
Sound Behaviour,
Roy Ayers Ubiquity,
The Beau Brummels,
The Standells,
Al Stewart,
Marcia Griffiths,
The Move,
Frankie Knuckles,
The Gories,
Vaughan Mason & Crew,
The Mummies,
DeepChord presents Echospace,
Lebanon Hanover,
Grandmaster Flash,
Electric Light Orchestra,
The Motions,
Neil Young,
Symarip,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.