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 Uzbekistan and from London.
But I was there.
I was there in 1973.
I was there at the first Television 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 1963 to 1970.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school Sao Paulo 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 snare 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 Heavy D & The Boyz to the rock 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 Marshall Jefferson. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
The Doors,
Goldenarms,
Silicon Teens,
The Residents,
Public Image Ltd.,
Visage,
The Moleskins,
Chris & Cosey,
Harry Pussy,
The Jesus and Mary Chain,
Bush Tetras,
Simply Red,
K-Klass,
Lou Reed & Metallica,
Joyce Sims,
Minny Pops,
Jacob Miller,
A Flock of Seagulls,
Brick,
Eric Dolphy,
Whodini,
Siouxsie and the Banshees,
Hashim,
Deadbeat,
Gichy Dan,
Black Flag,
The Skatalites,
Pierre Henry,
UT,
Davy DMX,
Angry Samoans,
Y Pants,
Maurizio,
Captain Beefheart & His Magic Band,
The Cosmic Jokers,
the Association,
ABBA,
Slave,
John Cale,
Johnny Clarke,
The Evens,
Marshall Jefferson,
Malaria!,
Wire,
Darondo,
Robert Wyatt,
Cybotron,
the Germs,
Mad Mike,
June Days,
Rekid,
The J.B.'s,
Visionaries,LMNO, T- Love & Iriscience,
Khruangbin,
Rod Modell,
Gang of Four,
Leonard Cohen,
Talk Talk,
Marcia Griffiths,
Urselle, Urselle, Urselle, Urselle.
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.