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 Micronesia and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Halifax and Winnipeg.
I'm losing my edge to the art-school Manchester 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Camron Feat. Memphis Bleek And Beenie Seigel 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 Ash Ra Tempel. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
The Toasters,
The Mighty Diamonds,
Ohio Players,
The Moody Blues,
Roy Ayers Ubiquity,
Angels of Light & Akron/Family,
The Buckinghams,
The Cowsills,
These Immortal Souls,
Tom Boy,
Organ,
Ultravox,
Amon Düül,
The Wake,
Crash Course in Science,
Siglo XX,
Delon & Dalcan,
The Motions,
Deepchord,
Mantronix,
Kaleidoscope,
Aswad,
Gary Puckett & The Union Gap,
The Sound,
Ten City,
Don Cherry,
Ultra Naté,
Ituana,
Gichy Dan,
Freddie Wadling,
Byron Stingily,
Fort Wilson Riot,
Robert Wyatt,
Dead Boys,
E-Dancer,
The Move,
Brand Nubian,
Au Pairs,
Skarface,
The Victims,
Wighnomy Brothers & Robag Wruhme,
Boz Scaggs,
Parry Music,
Minny Pops,
Malaria!,
Duran Duran,
Flamin' Groovies,
Marshall Jefferson,
Joe Finger,
The Smiths,
The Music Machine,
Sun City Girls,
Josef K,
Sugar Minott,
The Blues Magoos,
DJ Sneak,
The Associates,
Soft Machine,
Donald Byrd,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.