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 Guyana and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Tehran 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 güiro 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 Panda Bear to the crunk 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 Wally Richardson. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Barclay James Harvest,
Alton Ellis,
Sandy B,
MDC,
Black Flag,
Henry Cow,
Throbbing Gristle,
London Community Gospel Choir,
Pere Ubu,
The Gun Club,
Depeche Mode,
Guru Guru,
Angry Samoans,
Todd Terry,
Metal Thangz,
Eric Dolphy,
Oblivians,
Rapeman,
Harpers Bizarre,
Ponytail,
Cymande,
Avey Tare's Slasher Flicks,
Technova,
Neu!,
the Association,
Skaos,
Amon Düül,
David Bowie,
Underground Resistance,
Oppenheimer Analysis,
The Index,
Kool G Rap & DJ Polo,
Can,
Laurel Aitken,
Howard Jones,
James Chance & The Contortions,
Andrew Hill,
John Coltrane,
The Monks,
Ronnie Foster,
Bob Dylan,
Gabor Szabo,
Stetsasonic,
The Walker Brothers,
Pierre Henry,
Tom Boy,
Eurythmics,
Cybotron,
Lebanon Hanover,
The Raincoats,
the Normal,
Mad Mike,
Lee Hazlewood,
L. Decosne,
Notorious BIG live in Amsterdam,
Siglo XX,
Flamin' Groovies,
Graham Central Station,
Robert Görl,
Nik Kershaw,
Lyres, Lyres, Lyres, Lyres.
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.