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 London.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school London 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 Flipper to the jazz 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 Crispian St. Peters. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Whodini record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Guru Guru,
Tomorrow,
Lungfish,
Arab on Radar,
The Cosmic Jokers,
Kas Product,
Mad Mike,
The Zeros,
Surgeon,
Make Up,
Bang On A Can,
Theoretical Girls,
Don Cherry,
Wire,
Maleditus Sound,
Livin' Joy,
Massinfluence,
Mary Jane Girls,
Donald Byrd,
Mandrill,
Terry Callier,
The Associates,
The Standells,
Siglo XX,
Jacques Brel,
Bobbi Humphrey,
Kerri Chandler,
DJ Sneak,
Dark Day,
Throbbing Gristle,
The Flesh Eaters,
Matthew Bourne,
Qualms,
The Real Kids,
Loose Ends,
Goldenarms,
Cabaret Voltaire,
The Human League,
Cybotron,
Lightning Bolt,
Con Funk Shun,
John Holt,
Moby Grape,
Lindisfarne,
Shoche,
Brick,
Nick Cave & The Bad Seeds,
Carl Craig,
FM Einheit,
Prince Buster,
Basic Channel,
Tears for Fears,
Deadbeat,
Television,
Outsiders,
Junior Murvin,
Procol Harum,
James Chance & The Contortions,
B.T. Express,
The Trojans, The Trojans, The Trojans, The Trojans.
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.