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 Morocco and from Salvador.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Tehran and Lyon.
I'm losing my edge to the art-school Stockholm 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Minor Threat to the jazz 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 Chris Corsano. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Agent Orange,
The Associates,
The Peanut Butter Conspiracy,
Roy Ayers,
Quadrant,
Lucky Dragons,
Black Pus,
Symarip,
Visage,
Don Cherry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Wasted Youth,
Severed Heads,
LL Cool J,
Kerrie Biddell,
Dave Gahan,
Slave,
Main Source,
Masters at Work,
Crooked Eye,
The Detroit Cobras,
the Association,
The Blues Magoos,
Orchestral Manoeuvres in the Dark,
Terry Callier,
Iggy Pop,
Quantec,
The Modern Lovers,
The J.B.'s,
Oneida,
Electric Prunes,
Brand Nubian,
MC5,
X-Ray Spex,
Duran Duran,
Kool Moe Dee,
Adolescents,
The Smoke,
Aloha Tigers,
Sunsets and Hearts,
Siglo XX,
L. Decosne,
Intrusion,
Ossler,
Morten Harket,
Eli Mardock,
The Remains,
The Last Poets,
The Knickerbockers,
Henry Cow,
Warsaw,
T. Rex,
the Slits,
Alton Ellis,
Half Japanese,
Gregory Isaacs,
James Chance & The Contortions,
Gang Starr,
Bush Tetras,
Gary Puckett & The Union Gap,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.