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 Korea North and from Manchester.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Funkadelic to the electroclash kids.
I played it at Trash.
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 Cymande. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Althea and Donna 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Dawn Penn,
Moss Icon,
New York Dolls,
Selector Dub Narcotic,
Drexciya,
London Community Gospel Choir,
Leonard Cohen,
Eyeless In Gaza,
Nirvana,
Ken Boothe,
Cybotron,
The Golliwogs,
Harpers Bizarre,
DNA,
Saccharine Trust,
Ossler,
Junior Murvin,
Fugazi,
Funky Four + One,
Deakin,
Von Mondo,
Marmalade,
Oblivians,
Marvin Gaye,
the Slits,
Symarip,
Cymande,
Deutsch Amerikanische Freundschaft,
Richard Hell and the Voidoids,
Bush Tetras,
The Cowsills,
Gong,
B.T. Express,
Tears for Fears,
Scan 7,
Rod Modell,
The Divine Comedy,
Yusef Lateef,
The Busters,
Warsaw,
Adolescents,
Subhumans,
Angels of Light & Akron/Family,
Lee Hazlewood,
Röyhkä ja Rättö ja Lehtisalo,
Banda Bassotti,
Dual Sessions,
Marcia Griffiths,
Thompson Twins,
Bobby Hutcherson,
U.S. Maple,
Black Pus,
Masters at Work,
Al Stewart,
the Normal,
R.M.O.,
The Misunderstood,
Lower 48,
Angry Samoans,
Nation of Ulysses,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.