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 Namibia and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Paris 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe 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 Roger Hodgson to the punk kids.
I played it at the Astoria.
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 Fluxion. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fad Gadget,
The Doobie Brothers,
Agent Orange,
Peter Gordon & Love of Life Orchestra,
Pierre Henry,
Stetsasonic,
The Motions,
Harpers Bizarre,
Dawn Penn,
The Searchers,
Amon Düül II,
K-Klass,
Sällskapet,
Davy DMX,
Eddi Front,
Sister Nancy,
Ultimate Spinach,
Monks,
Au Pairs,
Gang Starr,
Loose Ends,
John Cale,
the Association,
Beasts of Bourbon,
Warsaw,
Underground Resistance,
Joe Finger,
Ultramagnetic MC's,
Dorothy Ashby,
John Lydon,
Public Enemy,
Crispy Ambulance,
The Count Five,
Lungfish,
Jacques Brel,
Barry Ungar,
The Dave Clark Five,
Laurel Aitken,
Zero Boys,
The Velvet Underground,
Rod Modell,
The Neon Judgement,
Outsiders,
Mark Hollis,
Bill Wells,
Vaughan Mason & Crew,
Silicon Teens,
Tommy Roe,
John Holt,
Unrelated Segments,
48th St. Collective,
Can,
Gil Scott-Heron and Jamie xx,
Stiv Bators,
Peter and Kerry,
Albert Ayler,
Sound Behaviour,
Bob Dylan,
Suicide,
Scrapy,
The Associates,
Rotary Connection,
Qualms,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.