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 Seychelles and from Calgary.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 Strawberry Alarm Clock to the rap 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 Connie Case. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Roxy Music 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
The Evens,
Roxy Music,
Stiv Bators,
Stockholm Monsters,
Fat Boys,
Marine Girls,
The Human League,
Avey Tare's Slasher Flicks,
The Gun Club,
Mary Jane Girls,
D'Angelo,
The Techniques,
Funky Four + One,
The Star Department,
Gang Green,
Joe Smooth,
ABBA,
Sexual Harrassment,
Alton Ellis,
Funkadelic,
Tomorrow,
Rotary Connection,
Spandau Ballet,
Larry & the Blue Notes,
Delon & Dalcan,
Pole,
Crash Course in Science,
Colin Newman,
B.T. Express,
Sad Lovers and Giants,
Motorama,
A Flock of Seagulls,
The Happenings,
Graham Central Station,
Chris Corsano,
Bluetip,
Nirvana,
The Index,
Circle Jerks,
La Düsseldorf,
Girls At Our Best!,
Sun City Girls,
Black Sheep,
Oneida,
Supertramp,
Audionom,
Traffic Nightmare,
The Walker Brothers,
Hashim,
The Offenders,
The Fortunes,
Rahsaan Roland Kirk,
The Monks,
Gang Gang Dance,
Jerry's Kids,
Bob Dylan,
Stetsasonic,
Ronnie Foster,
Scratch Acid,
Marcia Griffiths,
Public Enemy,
Nick Fraelich,
10cc, 10cc, 10cc, 10cc.
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.