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 Yemen and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 Desert Stars to the grunge kids.
I played it at the Crocodile.
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 This Heat. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy 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?
Grandmaster Flash,
The Black Dice,
Qualms,
Gary Puckett & The Union Gap,
The Blackbyrds,
Pet Shop Boys,
The Gories,
Sly & The Family Stone,
Masters at Work,
Black Pus,
Arab on Radar,
Swell Maps,
Stereo Dub,
Frankie Knuckles,
Cal Tjader,
Skaos,
Agent Orange,
Tropical Tobacco,
Roy Ayers,
The Toasters,
New York Dolls,
Nik Kershaw,
John Lydon,
Bobbi Humphrey,
Easy Going,
UT,
Robert Wyatt,
Quando Quango,
Isaac Hayes,
Kauko Röyhkä ja Narttu,
Wire,
The Gun Club,
ABC,
Japan,
Roxy Music,
Archie Shepp,
Orchestral Manoeuvres in the Dark,
Mark Hollis,
Jawbox,
Dennis Brown,
a-ha,
Gang Green,
F. McDonald,
Gastr Del Sol,
Marine Girls,
Blake Baxter,
Avey Tare & Kría Brekkan,
Metal Thangz,
The Dirtbombs,
Steve Hackett,
Barbara Tucker,
Aural Exciters,
Sonic Youth,
The Fire Engines,
Chrome,
Yaz,
The Smiths,
The Smoke,
Derrick Morgan,
Pere Ubu,
The Moody Blues,
Main Source, Main Source, Main Source, Main Source.
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.