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 Bolivia and from Lagos.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Calgary 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Bang On A Can to the electroclash kids.
I played it at Cafe Wha.
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 Procol Harum. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
The Flesh Eaters,
The Five Americans,
Oblivians,
Bizarre Inc.,
Bob Dylan,
Tres Demented,
Q and Not U,
Fluxion,
The Count Five,
Alison Limerick,
Minor Threat,
Reuben Wilson,
Donny Hathaway,
the Slits,
Popol Vuh,
Severed Heads,
Banda Bassotti,
Schoolly D,
CMW,
Roxette,
The Searchers,
Thinking Fellers Union Local 282,
Ohio Players,
Deutsch Amerikanische Freundschaft,
The Motions,
Throbbing Gristle,
Kauko Röyhkä ja Narttu,
Matthew Bourne,
Kenny Larkin,
Masters at Work,
KRS-One,
The Saints,
The Fire Engines,
Rufus Thomas,
Moby Grape,
Kango’s Stein Massive,
Urselle,
Electric Light Orchestra,
The Seeds,
Lightning Bolt,
Stockholm Monsters,
Hoover,
Unrelated Segments,
Tears for Fears,
Warren Ellis,
Moss Icon,
The Walker Brothers,
The Mummies,
The Durutti Column,
Scientists,
Dennis Brown,
Lou Reed & Metallica,
The Electric Prunes,
Panda Bear,
The Sonics,
Skarface,
The Index,
Soft Cell,
Interpol,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.