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 Afghanistan and from Portland.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Accra and Manila.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator 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 The Cowsills to the rock kids.
I played it at the Hacienda.
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 Absolute Body Control. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal electroclash 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 a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Grauzone,
Sparks,
Sound Behaviour,
The Electric Prunes,
Aaron Thompson,
Crash Course in Science,
The Young Rascals,
The Busters,
Bush Tetras,
La Düsseldorf,
Heavy D & The Boyz,
Pole,
Faust,
Quadrant,
The Smoke,
The Kinks,
Visage,
Lightning Bolt,
Ossler,
A Certain Ratio,
Saccharine Trust,
Mr. Review,
10cc,
Black Bananas,
Deutsch Amerikanische Freundschaft,
Ken Boothe,
Panda Bear,
Piero Umiliani,
Maurizio,
Kevin Saunderson,
Half Japanese,
The Move,
Thee Headcoats,
John Cale,
Peter Gordon & Love of Life Orchestra,
Beasts of Bourbon,
Sun Ra,
Dorothy Ashby,
Kerrie Biddell,
Anthony Braxton,
Kings Of Tomorrow,
The Star Department,
Byron Stingily,
Delta 5,
Soul II Soul,
the Fania All-Stars,
LL Cool J,
Babytalk,
Suburban Knight,
Deadbeat,
Organ,
Radiopuhelimet,
Urselle,
Donny Hathaway,
Joyce Sims,
Con Funk Shun,
Technova,
Electric Light Orchestra,
cv313,
The Gories,
H. Thieme,
Soft Cell,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.