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 Benin and from Paris.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school New York 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 mellotron 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 Goldenarms to the dance kids.
I played it at Trash.
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 Kurtis Blow. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Cameo 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
The Selecter,
Rufus Thomas,
Piero Umiliani,
The Techniques,
The Black Dice,
The Royal Family And The Poor,
Swans,
Nation of Ulysses,
Byron Stingily,
Gong,
Bobby Hutcherson,
The Dave Clark Five,
Ultra Naté,
The Mojo Men,
Fatback Band,
X-102,
Bronski Beat,
John Holt,
The Cure,
Grandmaster Flash,
Minor Threat,
Saccharine Trust,
The Vogues,
the Soft Cell,
T. Rex,
Crispy Ambulance,
Cameo,
Dennis Brown,
Cabaret Voltaire,
The Pop Group,
Slave,
Eyeless In Gaza,
Urselle,
JFA,
The Misunderstood,
Notorious BIG live in Amsterdam,
Robert Görl,
One Last Wish,
Chris Corsano,
Thompson Twins,
Deakin,
Bang on a Can All-Stars,
Y Pants,
Agent Orange,
Lalo Schifrin,
Make Up,
Pharoah Sanders,
Buzzcocks,
Ossler,
The Detroit Cobras,
10cc,
H. Thieme,
Sixth Finger,
L. Decosne,
The Move,
Mark Hollis,
Maurizio,
Gichy Dan,
Ludus,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.