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 Belgium and from Mexico City.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
I'm losing my edge to the art-school Beijing 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Brothers Johnson to the punk kids.
I played it at CBGB's.
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 Gabor Szabo. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Amon Düül 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 '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Jeff Lynne,
Kerrie Biddell,
Funkadelic,
Clear Light,
The Slackers,
Moebius,
ABC,
Depeche Mode,
London Community Gospel Choir,
Leonard Cohen,
Roy Ayers,
Robert Görl,
Bobby Hutcherson,
Pere Ubu,
Toni Rubio,
UT,
X-Ray Spex,
The Litter,
The Index,
Saccharine Trust,
Rapeman,
Lindisfarne,
Sun Ra Arkestra,
Blossom Toes,
The Flesh Eaters,
Danielle Patucci,
Pharaoh Sanders and the Fire Engines,
Todd Terry,
Goldenarms,
The Sisters of Mercy,
Bang On A Can,
Manfred Mann's Earth Band,
New Order,
The Monks,
Siglo XX,
Sight & Sound,
Juan Atkins,
Sly & The Family Stone,
Ten City,
June of 44,
Parry Music,
Pet Shop Boys,
Arab on Radar,
Country Teasers,
Dorothy Ashby,
10cc,
Gil Scott Heron,
X-102,
Banda Bassotti,
Y Pants,
Kevin Saunderson,
Radiopuhelimet,
Pole,
La Düsseldorf,
Ultra Naté,
The Young Rascals,
Lebanon Hanover,
Amon Düül,
Derrick Morgan,
Black Bananas,
Spandau Ballet,
The Invisible, The Invisible, The Invisible, The Invisible.
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.