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 Slovenia and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
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 Feelies practice in a loft in Haledon.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Rekid to the funk 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 Yellowson. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Magazine,
Stetsasonic,
James White and The Blacks,
Von Mondo,
The Moody Blues,
E-Dancer,
Girls At Our Best!,
Sly & The Family Stone,
Popol Vuh,
Arab on Radar,
Lebanon Hanover,
the Fania All-Stars,
the Germs,
Slave,
T.S.O.L.,
LL Cool J,
Deadbeat,
Beasts of Bourbon,
Heaven 17,
K-Klass,
Junior Murvin,
Yellowson,
The Busters,
The Jesus and Mary Chain,
Can,
Duran Duran,
Tomorrow,
Pantaleimon,
Loose Ends,
Brick,
Leonard Cohen,
The Victims,
Scientists,
Bobby Womack,
Radio Birdman,
Faust,
The Monks,
Kayak,
Bobby Sherman,
Shuggie Otis,
Groovy Waters,
Andrew Hill,
Soft Machine,
Notorious BIG live in Amsterdam,
X-101,
Cabaret Voltaire,
Hasil Adkins,
Joe Finger,
The United States of America,
The Detroit Cobras,
Rites of Spring,
Matthew Bourne,
Scion,
Charles Mingus,
Larry & the Blue Notes,
Monolake,
Fifty Foot Hose,
Skaos,
The Mummies,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.