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 Djibouti and from Mexico City.
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 Mexico City and Milan.
I'm losing my edge to the art-school Houston 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Alison Limerick to the punk 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 Deadbeat. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron 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 Kinks,
The Gap Band,
Alphaville,
Todd Rundgren,
Dark Day,
Janne Schatter,
The Standells,
Vainqueur,
Thee Headcoats,
Larry & the Blue Notes,
Liaisons Dangereuses,
Captain Beefheart & His Magic Band,
The Searchers,
Make Up,
Eli Mardock,
Siglo XX,
The Monks,
Jawbox,
Masters at Work,
Heaven 17,
the Normal,
Eric Copeland,
Piero Umiliani,
The Martian,
The Leaves,
Delta 5,
Ituana,
Dawn Penn,
Inner City,
Bob Dylan,
The Buckinghams,
The Chocolate Watch Band,
Peter Gordon & Love of Life Orchestra,
Depeche Mode,
Bootsy Collins,
Faraquet,
Blossom Toes,
Livin' Joy,
Crooked Eye,
Minnie Riperton,
Sister Nancy,
Morten Harket,
Pylon,
The Five Americans,
The Trojans,
Roy Ayers,
Electric Prunes,
Intrusion,
Boredoms,
Los Fastidios,
The Moleskins,
Second Layer,
Cheater Slicks,
Mad Mike,
The United States of America,
Amon Düül II,
Thinking Fellers Union Local 282,
a-ha,
John Cale,
Andrew Ashong & Theo Parrish,
Loose Ends,
Nils Olav,
The Sound, The Sound, The Sound, The Sound.
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.