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 Colombia and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1979.
I'm losing my edge.
To all the kids in New York and Manila.
I'm losing my edge to the art-school Taipei 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 chamberlin 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 Patti Smith to the electroclash kids.
I played it at the 40 Watt.
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 T. Rex. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Circle Jerks,
UT,
Eve St. Jones,
The American Breed,
It's A Beautiful Day,
the Association,
Oppenheimer Analysis,
A Flock of Seagulls,
Eurythmics,
Byron Stingily,
Crooked Eye,
Nico,
Alton Ellis,
Neu!,
T. Rex,
Peter & Gordon,
Sugar Minott,
Kings Of Tomorrow,
Pantaleimon,
Strawberry Alarm Clock,
Henry Cow,
Kool Moe Dee,
The Selecter,
the Soft Cell,
Black Bananas,
Sexual Harrassment,
Sad Lovers and Giants,
The United States of America,
Derrick Morgan,
Essential Logic,
Audionom,
The Men They Couldn't Hang,
New Age Steppers,
ABBA,
DJ Sneak,
Kauko Röyhkä ja Narttu,
Los Fastidios,
Barrington Levy,
Sparks,
The Human League,
Electric Prunes,
Aaron Thompson,
Cal Tjader,
Brick,
Shoche,
The Young Rascals,
The Buckinghams,
Accadde A,
Ultravox,
Section 25,
Marmalade,
Bobbi Humphrey,
Grauzone,
Hashim,
Graham Central Station,
Ice-T,
Janne Schatter,
The Index,
Das Ding, Das Ding, Das Ding, Das Ding.
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.