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 Rwanda and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Hong Kong 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 harpsichord 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 Q65 to the grunge 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 John Lydon. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Ice-T 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Laurel Aitken,
Lizzy Mercier Descloux,
Soft Cell,
Minor Threat,
Sight & Sound,
Second Layer,
X-102,
The Smiths,
Sam Rivers,
Godley & Creme,
Public Enemy,
Loose Ends,
Be Bop Deluxe,
OOIOO,
Ten City,
Rekid,
Tears for Fears,
The West Coast Pop Art Experimental Band,
Flash Fearless,
Fad Gadget,
Todd Terry,
New York Dolls,
Graham Central Station,
Public Image Ltd.,
the Sonics,
Maleditus Sound,
X-101,
Unrelated Segments,
La Düsseldorf,
Amazonics,
Cecil Taylor,
8 Eyed Spy,
Echo & the Bunnymen,
Red Lorry Yellow Lorry,
Traffic Nightmare,
Soul Sonic Force,
The Misunderstood,
Crime,
The Walker Brothers,
Gichy Dan,
Marvin Gaye,
The Saints,
Marshall Jefferson,
Jacques Brel,
Youth Brigade,
Buzzcocks,
Echospace,
The Cramps,
Cymande,
Rowland S Howard / Lydia Lunch,
Inner City,
Boredoms,
Davy DMX,
Iggy Pop,
Crash Course in Science,
Dead Boys,
Kool Moe Dee,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.