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 Bolivia and from Portland.
But I was there.
I was there in .
I was there at the first Suicide 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 1967 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 linndrum 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 The Motions to the jazz kids.
I played it at the Hacienda.
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 Tres Demented. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Mo-Dettes 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 '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Sly & The Family Stone,
Trumans Water,
Rod Modell,
Lou Reed & John Cale,
Soft Machine,
The Golliwogs,
Susan Cadogan,
Cluster,
Television Personalities,
Rapeman,
The Move,
Ossler,
The Techniques,
In Retrospect,
Rosa Yemen,
Soul Sonic Force,
Guru Guru,
The Monks,
Max Romeo,
Sight & Sound,
Cybotron,
Robert Wyatt,
Royal Trux,
Morten Harket,
Kool G Rap & DJ Polo,
Ronan,
London Community Gospel Choir,
The Slits,
Todd Rundgren,
Dual Sessions,
Dead Boys,
Blake Baxter,
The Walker Brothers,
R.M.O.,
The Searchers,
Althea and Donna,
Josef K,
Pantytec,
Amon Düül II,
E-Dancer,
The Neon Judgement,
Marcia Griffiths,
Terry Callier,
The Moody Blues,
Jacob Miller,
The Men They Couldn't Hang,
Kango’s Stein Massive,
Deutsch Amerikanische Freundschaft,
Ultramagnetic MC's,
Surgeon,
Mad Mike,
Country Joe & The Fish,
Avey Tare & Kría Brekkan,
MDC,
Sun City Girls,
Jerry's Kids,
Pylon,
The United States of America,
Bobby Sherman,
Aswad,
Cameo,
Can,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.