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 Angola and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Madrid.
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 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 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 CMW to the crunk kids.
I played it at the Troubador.
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 Radiopuhelimet. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every The Modern Lovers 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
John Holt,
D'Angelo,
the Fania All-Stars,
Grandmaster Flash,
The Residents,
Scan 7,
Funky Four + One,
Hot Snakes,
James Chance & The Contortions,
Eric B and Rakim,
Amazonics,
Rekid,
Lizzy Mercier Descloux,
Man Parrish,
Dual Sessions,
Hasil Adkins,
Kevin Saunderson,
Girls At Our Best!,
Blake Baxter,
R.M.O.,
Soft Machine,
Richard Hell and the Voidoids,
The Index,
Red Lorry Yellow Lorry,
Rotary Connection,
Alphaville,
Bauhaus,
De La Soul & Jungle Brothers,
Rites of Spring,
Neil Young & Crazy Horse,
Roy Ayers,
Bill Near,
Tom Boy,
Rhythm & Sound,
Brothers Johnson,
The Victims,
Howard Jones,
Gil Scott-Heron & Brian Jackson,
Curtis Mayfield,
Hardrive,
OOIOO,
Man Eating Sloth,
Shoche,
Eve St. Jones,
Pet Shop Boys,
Duran Duran,
Hoover,
Deadbeat,
Country Joe & The Fish,
Super Lover Cee & Casanova Rud,
Animal Collective,
Pantaleimon,
Adolescents,
Grandmaster Flash and the Furious Five,
ABBA,
Bang on a Can All-Stars,
EPMD,
Spandau Ballet,
Derrick Morgan,
Crispy Ambulance,
Josef K,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.