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 Jamaica and from Toronto.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 La Düsseldorf to the electroclash kids.
I played it at the Crocodile.
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 Angry Samoans. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Amon Düül II,
Judy Mowatt,
Strawberry Alarm Clock,
Barrington Levy,
Mary Jane Girls,
Nico,
Loose Ends,
The Motions,
Gang of Four,
James Chance & The Contortions,
Massinfluence,
Warsaw,
Bill Near,
Cabaret Voltaire,
Public Image Ltd.,
The Gories,
Mandrill,
Glambeats Corp.,
Rapeman,
Grauzone,
Aaron Thompson,
Banda Bassotti,
The Last Poets,
June Days,
This Heat,
Bobbi Humphrey,
Godley & Creme,
the Fania All-Stars,
Camron Feat. Jay Z And Juelz,
Yaz,
Spandau Ballet,
Au Pairs,
Index,
Amon Düül,
Nirvana,
Larry & the Blue Notes,
Johnny Osbourne,
Delon & Dalcan,
Alphaville,
Fluxion,
Faust,
Anthony Braxton,
The Blues Magoos,
Tubeway Army,
Wally Richardson,
Fort Wilson Riot,
Dual Sessions,
the Normal,
The Smoke,
New York Dolls,
Minny Pops,
The Doobie Brothers,
Moebius,
Qualms,
Jacques Brel,
Pharaoh Sanders and the Fire Engines,
Hasil Adkins,
Morten Harket,
Warren Ellis,
Rekid,
Chrome,
The Birthday Party,
Marmalade, Marmalade, Marmalade, Marmalade.
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.