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 Ivory Coast and from Johannesburg.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Edmonton 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 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 The Zeros to the dance kids.
I played it at the Spitz.
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 Slackers. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every The Walker Brothers 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Bluetip,
Patti Smith,
Wings,
Swans,
The Fall,
A Flock of Seagulls,
The Cramps,
Kango’s Stein Massive,
Jawbox,
Scientists,
Soul Sonic Force,
Lafayette Afro Rock Band,
The Moody Blues,
Iggy Pop,
Kauko Röyhkä ja Narttu,
Wolf Eyes,
F. McDonald,
Eurythmics,
Dawn Penn,
Sun Ra Arkestra,
Henry Cow,
Lalann,
The Kinks,
Lou Reed,
The Names,
Organ,
The Mojo Men,
Magazine,
The Pop Group,
Gong,
Monolake,
Gian Franco Pienzio,
Nation of Ulysses,
Black Pus,
Johnny Clarke,
Neu!,
Frankie Knuckles,
DNA,
Q and Not U,
Brick,
T.S.O.L.,
Tommy Roe,
Smog,
The Cowsills,
DeepChord presents Echospace,
Reuben Wilson,
The Remains,
Wire,
The Index,
Average White Band,
Thee Headcoats,
Roy Ayers Ubiquity,
Jacob Miller,
The Cure,
Orchestral Manoeuvres in the Dark,
Mark Hollis,
Parry Music,
Pharoah Sanders,
Kenny Larkin,
Marvin Gaye,
The Music Machine,
Aloha Tigers,
Japan, Japan, Japan, Japan.
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.