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 Netherlands and from Stockholm.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Columbus and Woodstock.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 E-Dancer to the jazz 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 The United States of America. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Amon Düül II,
Connie Case,
Amazonics,
The Smoke,
Blossom Toes,
Masters at Work,
Thompson Twins,
Radiopuhelimet,
Thee Headcoats,
Angry Samoans,
Public Enemy,
Gastr Del Sol,
June Days,
The Tremeloes,
Japan,
Man Parrish,
The Moleskins,
Wings,
Goldenarms,
H. Thieme,
a-ha,
Joey Negro,
John Holt,
The Busters,
Danielle Patucci,
Youth Brigade,
Girls At Our Best!,
Eurythmics,
Rahsaan Roland Kirk,
X-101,
Big Daddy Kane,
The Knickerbockers,
Jandek,
T.S.O.L.,
Roxette,
Glambeats Corp.,
Second Layer,
Archie Shepp,
The Human League,
Radio Birdman,
The Residents,
Soft Machine,
Fluxion,
The Cramps,
The Cowsills,
Black Moon,
Tubeway Army,
Popol Vuh,
Nas,
Donald Byrd,
Roger Hodgson,
Scientists,
Throbbing Gristle,
Lafayette Afro Rock Band,
Jacques Brel,
CMW,
Robert Wyatt,
Marcia Griffiths,
Maurizio,
Kurtis Blow,
Marc Almond,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.