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 Serbia and from Beijing.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Glambeats Corp. to the crunk 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 World's Most. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Masters at Work,
Organ,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Swans,
The Motions,
Inner City,
Ultra Naté,
The Index,
The Slits,
X-101,
Röyhkä ja Rättö ja Lehtisalo,
The Seeds,
The United States of America,
Bobbi Humphrey,
Matthew Halsall,
MDC,
Mr. Review,
Minnie Riperton,
Peter and Kerry,
Sunsets and Hearts,
Lungfish,
The Sound,
The Divine Comedy,
Bush Tetras,
Jandek,
Joe Finger,
Albert Ayler,
Ice-T,
Patti Smith,
It's A Beautiful Day,
The Slackers,
The Walker Brothers,
Glenn Branca,
Mantronix,
Joyce Sims,
Brand Nubian,
London Community Gospel Choir,
Derrick Morgan,
The Move,
8 Eyed Spy,
Maurizio,
Ajijia Myrayebe,
Simply Red,
Nation of Ulysses,
Babytalk,
Circle Jerks,
Richard Hell and the Voidoids,
EPMD,
Zero Boys,
Lou Reed,
Liaisons Dangereuses,
Gary Puckett & The Union Gap,
Wire,
The Alarm Clocks,
Charles Mingus,
Skaos,
Saccharine Trust,
the Bar-Kays,
Joe Smooth,
Tubeway Army,
The Selecter,
Hasil Adkins,
Suicide, Suicide, Suicide, Suicide.
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.