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 Armenia 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 1961 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Bologna.
I'm losing my edge to the art-school New York 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 chamberlin 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 Crime to the jazz kids.
I played it at CBGB's.
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 Archie Shepp. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Al Stewart,
Malaria!,
Quando Quango,
Art Ensemble Of Chicago,
Jeru the Damaja,
Black Pus,
Janne Schatter,
Flipper,
Boz Scaggs,
Iggy Pop,
The Human League,
Matthew Halsall,
The Move,
Juan Atkins,
Soft Machine,
Little Man,
Alice Coltrane,
Throbbing Gristle,
Red Lorry Yellow Lorry,
The Grass Roots,
Organ,
Main Source,
Severed Heads,
the Germs,
Don Cherry,
Gichy Dan,
Nas,
Glambeats Corp.,
Rakim,
Super Lover Cee & Casanova Rud,
Crime,
Supertramp,
Angels of Light & Akron/Family,
Pharaoh Sanders and the Fire Engines,
The Leaves,
the Fania All-Stars,
cv313,
Intrusion,
Country Teasers,
Kurtis Blow,
Gerry Rafferty,
Sparks,
Rowland S Howard / Lydia Lunch,
Lonnie Liston Smith,
Cal Tjader,
Rufus Thomas,
Panda Bear,
Yaz,
Hoover,
Carl Craig,
Dead Boys,
Deepchord,
The Barracudas,
Justin Hinds & The Dominoes,
Alison Limerick,
The Chocolate Watch Band,
Roy Ayers Ubiquity,
Cymande,
Davy DMX,
Joy Division,
PIL,
a-ha, a-ha, a-ha, a-ha.
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.