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 Dominican Republic and from Houston.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
I'm losing my edge to the art-school London 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet 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 Crispian St. Peters to the disco 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 Magazine. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
The Victims,
Oneida,
Robert Görl,
Porter Ricks,
Television,
Bill Near,
Make Up,
Gong,
Man Parrish,
Country Joe & The Fish,
Delon & Dalcan,
The Saints,
Dawn Penn,
Marmalade,
Public Image Ltd.,
Grauzone,
Carl Craig,
Black Pus,
Glenn Branca,
Amon Düül,
The Index,
The Standells,
Stetsasonic,
Althea and Donna,
Gregory Isaacs,
T. Rex,
Unrelated Segments,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Blues Magoos,
The Doobie Brothers,
Jacques Brel,
Danielle Patucci,
Unwound,
Blancmange,
Junior Murvin,
World's Most,
Motorama,
Yusef Lateef,
Larry & the Blue Notes,
The Seeds,
Toni Rubio,
The Star Department,
Nik Kershaw,
Tubeway Army,
Kaleidoscope,
Sound Behaviour,
Gastr Del Sol,
Skaos,
Lebanon Hanover,
The Toasters,
Gil Scott-Heron and Jamie xx,
Angry Samoans,
The Zeros,
Cheater Slicks,
Dorothy Ashby,
Kevin Saunderson,
Kayak,
Monolake,
The Trojans,
Eyeless In Gaza,
Masters at Work,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.