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 Delhi.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Madrid and Spokane.
I'm losing my edge to the art-school Milan 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Lebanon Hanover to the dance 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 Man Parrish. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Derrick May 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Soft Machine,
Slave,
Blake Baxter,
Intrusion,
The Fuzztones,
Alton Ellis,
Ultramagnetic MC's,
Ash Ra Tempel,
Fear,
A Certain Ratio,
Captain Beefheart & His Magic Band,
Rites of Spring,
Rod Modell,
Infiniti,
Index,
kango's stein massive,
Das Ding,
Au Pairs,
Von Mondo,
Sight & Sound,
Wolf Eyes,
The Fortunes,
Pagans,
The Techniques,
Audionom,
Magma,
Pet Shop Boys,
Terrestrial Tones,
Rosa Yemen,
The Young Rascals,
Subhumans,
Bush Tetras,
Theoretical Girls,
Spandau Ballet,
Parry Music,
Shuggie Otis,
Mantronix,
Eden Ahbez,
Faraquet,
Gerry Rafferty,
Sun Ra Arkestra,
R.M.O.,
Babytalk,
Rowland S Howard / Lydia Lunch,
Altered Images,
Fatback Band,
Gil Scott-Heron & Brian Jackson,
Roy Ayers Ubiquity,
Pussy Galore,
Nas,
The Cure,
Piero Umiliani,
Interpol,
Bobbi Humphrey,
Connie Case,
Black Sheep,
The Shadows of Knight,
London Community Gospel Choir,
The Jesus and Mary Chain,
Lungfish,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.