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 Antigua and from Spokane.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 The Vogues to the techno kids.
I played it at the Roxy.
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 The Index. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Lee Hazlewood,
Soft Cell,
kango's stein massive,
John Cale,
Arthur Verocai,
Terror Squad Feat. Camron,
Cal Tjader,
Tres Demented,
Jerry Gold Smith,
The Pop Group,
The Fortunes,
T.S.O.L.,
Manfred Mann's Earth Band,
the Normal,
Thee Headcoats,
Angry Samoans,
Crime,
Funkadelic,
Echospace,
Electric Prunes,
Gary Puckett & The Union Gap,
Johnny Clarke,
Lower 48,
The Wake,
The Mojo Men,
Nirvana,
X-102,
the Fania All-Stars,
Bobby Byrd,
Little Man,
Dave Gahan,
The Names,
In Retrospect,
Juan Atkins,
Swell Maps,
Public Enemy,
Boz Scaggs,
Beasts of Bourbon,
Whodini,
Isaac Hayes,
The Motions,
Cluster,
Quadrant,
Ice-T,
Delta 5,
U.S. Maple,
Negative Approach,
Kings Of Tomorrow,
Massinfluence,
Dawn Penn,
Heavy D & The Boyz,
48th St. Collective,
R.M.O.,
The Gun Club,
Marine Girls,
H. Thieme,
the Slits,
Peter & Gordon,
Jawbox,
The Fire Engines,
the Bar-Kays,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.