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 Somalia and from Sao Paulo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Shanghai and New York.
I'm losing my edge to the art-school Delhi 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Gary Puckett & The Union Gap to the dance kids.
I played it at the Troubador.
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 Matthew Halsall. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Terror Squad Feat. Camron,
Fort Wilson Riot,
Röyhkä ja Rättö ja Lehtisalo,
Sun City Girls,
Lou Reed,
La Düsseldorf,
Moby Grape,
Roger Hodgson,
Deepchord,
Grandmaster Flash,
Tears for Fears,
Barrington Levy,
It's A Beautiful Day,
The Real Kids,
Franke,
Big Daddy Kane,
Kenny Larkin,
ABC,
Symarip,
DJ Style,
Quantec,
Unwound,
Severed Heads,
48th St. Collective,
The Cramps,
Sparks,
Black Flag,
Sandy B,
Toni Rubio,
Rotary Connection,
Teenage Jesus and the Jerks,
Moebius,
Boredoms,
Stereo Dub,
Cymande,
Man Eating Sloth,
Ultra Naté,
De La Soul & Jungle Brothers,
Sonic Youth,
Newcleus,
Dual Sessions,
Scott Walker,
Loose Ends,
Cybotron,
The Durutti Column,
MC5,
Eyeless In Gaza,
Gang Starr,
X-101,
Adolescents,
Roxy Music,
Janne Schatter,
Sunsets and Hearts,
Amon Düül II,
Gichy Dan,
The West Coast Pop Art Experimental Band,
Pussy Galore,
Sam Rivers,
Can, Can, Can, Can.
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.