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 Burundi and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1968 to 1973.
I'm losing my edge.
To all the kids in Beijing and Bremen.
I'm losing my edge to the art-school Shanghai 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 John Coltrane to the rap 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 This Heat. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every James White and The Blacks 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 an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
John Cale,
Tears for Fears,
Jesper Dahlback,
Aloha Tigers,
David McCallum,
DJ Sneak,
the Fania All-Stars,
The Happenings,
John Foxx,
Kurtis Blow,
Marmalade,
Smog,
The Electric Prunes,
The Skatalites,
Supertramp,
Peter & Gordon,
Amon Düül II,
the Bar-Kays,
Johnny Osbourne,
Justin Hinds & The Dominoes,
Eric B and Rakim,
Skarface,
X-102,
The Saints,
The Moleskins,
The Motions,
Agitation Free,
Motorama,
Curtis Mayfield,
Fad Gadget,
Dr. Dre and Snoop Doggy Dog,
The Slits,
Chris Corsano,
Agent Orange,
Marine Girls,
The Durutti Column,
Minny Pops,
Yellowson,
Excepter,
A Flock of Seagulls,
Neil Young & Crazy Horse,
the Human League,
The Names,
Negative Approach,
Susan Cadogan,
Unrelated Segments,
The Gun Club,
New York Dolls,
The Pop Group,
The Count Five,
F. McDonald,
June of 44,
Gong,
The Mojo Men,
Talk Talk,
New Age Steppers,
Q65,
JFA,
Cluster,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.