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 South Sudan and from Houston.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Lille.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 June Days to the rap kids.
I played it at the Troubador.
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 Crispy Ambulance. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Swell Maps 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
KRS-One,
Spandau Ballet,
Minnie Riperton,
EPMD,
Nils Olav,
Richard Hell and the Voidoids,
Zapp,
Ken Boothe,
Lafayette Afro Rock Band,
Aural Exciters,
Quando Quango,
Sticky Fingaz feat. Raekwon,
The Trojans,
Kevin Saunderson,
Kool Moe Dee,
The Mojo Men,
Man Parrish,
Lyres,
Camouflage,
Pet Shop Boys,
Ralphi Rosario,
Scrapy,
Terry Callier,
The Cowsills,
Bang On A Can,
The American Breed,
The Mummies,
Rod Modell,
Kayak,
Angels of Light & Akron/Family,
Michelle Simonal,
Cameo,
Lebanon Hanover,
Marmalade,
Dawn Penn,
Frankie Knuckles,
Lindisfarne,
Gil Scott-Heron & Brian Jackson,
London Community Gospel Choir,
Parry Music,
The Associates,
Harpers Bizarre,
Notorious Big And Bone Thugs,
Index,
Rhythim Is Rhythim,
Orchestral Manoeuvres in the Dark,
Charles Mingus,
Jesper Dahlbäck,
Neil Young,
The Leaves,
Amon Düül,
Throbbing Gristle,
Slave,
Wings,
Brick,
Dark Day,
Camron Feat. Jay Z And Juelz,
Sonic Youth,
Tomorrow,
Urselle,
Talk Talk,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.