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 Vietnam and from Edmonton.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Madrid and Milan.
I'm losing my edge to the art-school Manila 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 Wire practice in a loft in Watford.
I was working on the marimba 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 Wings to the dance kids.
I played it at the Hacienda.
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 The Toasters. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Supertramp 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 '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
The Mummies,
Saccharine Trust,
The Cowsills,
The Golliwogs,
Terrestrial Tones,
Joensuu 1685,
The Sound,
Judy Mowatt,
Harpers Bizarre,
Sonny Sharrock,
Q and Not U,
Sight & Sound,
Ultra Naté,
Fort Wilson Riot,
Blancmange,
Schoolly D,
Dennis Brown,
The Leaves,
Stockholm Monsters,
Alton Ellis,
Grey Daturas,
The Doobie Brothers,
Smog,
Sex Pistols,
Vladislav Delay,
Eve St. Jones,
Anakelly,
The Royal Family And The Poor,
La Düsseldorf,
Country Teasers,
Massinfluence,
Bad Manners,
The Zeros,
Japan,
Camberwell Now,
Zapp,
The Stooges,
Barry Ungar,
The Fire Engines,
Brass Construction,
Josef K,
Suicide,
Ken Boothe,
Guru Guru,
The Residents,
Kool G Rap & DJ Polo,
Tomorrow,
Chrome,
Maurizio,
Fela Kuti,
ABBA,
Rahsaan Roland Kirk,
Rhythm & Sound,
The Grass Roots,
Röyhkä ja Rättö ja Lehtisalo,
Eric B and Rakim,
Johnny Osbourne,
Ajijia Myrayebe,
Television,
Dr. Dre and Snoop Doggy Dog,
The Vogues, The Vogues, The Vogues, The Vogues.
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.