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 Uganda and from London.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Seoul.
I'm losing my edge to the art-school Bologna 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 1971 at the first Selda practice in a loft in Istanbul.
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 Niagra to the jazz kids.
I played it at Cafe Wha.
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 Liaisons Dangereuses. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal rap 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Bobbi Humphrey,
Brass Construction,
Severed Heads,
Pet Shop Boys,
The Cowsills,
The Kinks,
The Walker Brothers,
Rotary Connection,
Josef K,
Accadde A,
Darondo,
Lou Reed,
kango's stein massive,
Mark Hollis,
The Chocolate Watch Band,
The Electric Prunes,
The Techniques,
Idris Muhammad,
Average White Band,
Black Bananas,
Siouxsie and the Banshees,
Todd Rundgren,
Sunsets and Hearts,
Oneida,
Fifty Foot Hose,
The Buckinghams,
Camberwell Now,
Franke,
The Pop Group,
Gil Scott Heron,
Nik Kershaw,
The Wake,
Matthew Bourne,
Drexciya,
Porter Ricks,
cv313,
Dark Day,
Heaven 17,
Judy Mowatt,
Das Ding,
Aaron Thompson,
Hardrive,
Crispian St. Peters,
Roxy Music,
Theoretical Girls,
Lower 48,
Bill Near,
The Move,
Flipper,
Von Mondo,
Bluetip,
The Fugs,
Dorothy Ashby,
Tomorrow,
Black Moon,
Joensuu 1685,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.