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 Gambia and from Cairo.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Salvador 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 theremin sounds with much patience.
I was there when David Bowie 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 Unrelated Segments 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 Unwound. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Khruangbin,
A Flock of Seagulls,
Symarip,
Lee Hazlewood,
Suburban Knight,
Clear Light,
Royal Trux,
Ornette Coleman,
The Birthday Party,
The Stooges,
Theoretical Girls,
Moby Grape,
Index,
Moebius,
Main Source,
The Beau Brummels,
The Move,
Laurel Aitken,
China Crisis,
Kango’s Stein Massive,
Reuben Wilson,
Ajijia Myrayebe,
David Axelrod,
Flamin' Groovies,
Sonny Sharrock,
The Names,
Eli Mardock,
The Jesus and Mary Chain,
Amazonics,
David McCallum,
Chrome,
Crispian St. Peters,
The Flesh Eaters,
Mars,
Bootsy Collins,
The Skatalites,
Little Man,
Monolake,
The Gories,
Lungfish,
the Bar-Kays,
Interpol,
Crash Course in Science,
Schoolly D,
Kaleidoscope,
Groovy Waters,
In Retrospect,
Circle Jerks,
Bill Near,
The Victims,
Larry & the Blue Notes,
Ossler,
Josef K,
Rod Modell,
Soft Cell,
Ohio Players,
The Happenings,
Orchestral Manoeuvres in the Dark,
Delta 5,
UT,
The Mummies,
Oneida, Oneida, Oneida, Oneida.
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.