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 Jamaica and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Toronto and Lyon.
I'm losing my edge to the art-school Johannesburg 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Model 500 to the crunk kids.
I played it at CBGB's.
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 Peanut Butter Conspiracy. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
The Music Machine,
Don Cherry,
The Flesh Eaters,
Inner City,
Super Lover Cee & Casanova Rud,
Lakeside,
Massinfluence,
Swans,
Soulsonic Force,
Cabaret Voltaire,
Scan 7,
The Fire Engines,
Spandau Ballet,
Brand Nubian,
Nick Cave & The Bad Seeds,
Bronski Beat,
Junior Murvin,
Pharoah Sanders,
DeepChord presents Echospace,
Mo-Dettes,
Delon & Dalcan,
Whodini,
The Sisters of Mercy,
Silicon Teens,
Blake Baxter,
Amazonics,
The Sonics,
8 Eyed Spy,
LL Cool J,
Lou Christie,
The Gories,
Maurizio,
Selector Dub Narcotic,
The Names,
Angry Samoans,
Warsaw,
Boredoms,
Gang Gang Dance,
Niagra,
Goldenarms,
Depeche Mode,
Charles Mingus,
Roy Ayers,
Derrick Morgan,
the Fania All-Stars,
Fad Gadget,
Cameo,
Black Moon,
Davy DMX,
Eric Dolphy,
Sly & The Family Stone,
Pagans,
Fifty Foot Hose,
CMW,
Pete Rock & C.L. Smooth,
Bobby Womack,
China Crisis,
Au Pairs,
Black Pus,
Von Mondo,
The Moody Blues,
Art Ensemble Of Chicago,
Ituana,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.