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 Israel and from Calgary.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Salvador.
I'm losing my edge to the art-school Mumbai 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 chamberlin 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 Boz Scaggs to the dance kids.
I played it at Cafe Wha.
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 Dave Clark Five. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every N.O.R.E. Featuring Pharrell record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Dr. Dre and Snoop Doggy Dog,
Bush Tetras,
Half Japanese,
Outsiders,
T.S.O.L.,
Laurel Aitken,
Los Fastidios,
Fear,
The Cosmic Jokers,
Orchestral Manoeuvres in the Dark,
Ronnie Foster,
Mark Hollis,
CMW,
Rhythm & Sound,
Essential Logic,
Lou Reed & Metallica,
Terror Squad Feat. Camron,
The Moleskins,
Cybotron,
Notorious Big And Bone Thugs,
Aswad,
Selector Dub Narcotic,
Pole,
Joe Finger,
Nick Fraelich,
Ornette Coleman,
Barclay James Harvest,
Roxette,
The Skatalites,
Drive Like Jehu,
Todd Rundgren,
The Zeros,
Suicide,
Ludus,
The Birthday Party,
Marine Girls,
The Chocolate Watch Band,
Joey Negro,
The Peanut Butter Conspiracy,
Warsaw,
The Sonics,
Warren Ellis,
Eddi Front,
Soft Cell,
Carl Craig,
Skarface,
Teenage Jesus and the Jerks,
Sight & Sound,
Spandau Ballet,
The Smoke,
Wire,
Sarah Menescal,
Strawberry Alarm Clock,
Bobby Byrd,
Maleditus Sound,
Nico,
Skaos,
Anthony Braxton,
Nirvana,
Con Funk Shun,
Visionaries,LMNO, T- Love & Iriscience,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.