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 San Marino and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television 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 1979.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Milan 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 mellotron 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 Lebanon Hanover to the disco kids.
I played it at CBGB's.
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 Delon & Dalcan. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Eddi Front 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
The Dead C,
Spoonie Gee,
Lou Reed & John Cale,
Janne Schatter,
Panda Bear,
Alphaville,
Steve Hackett,
L. Decosne,
Richard Hell and the Voidoids,
Drexciya,
The Royal Family And The Poor,
Roxy Music,
Mo-Dettes,
Desert Stars,
Groovy Waters,
Rites of Spring,
Donald Byrd,
Ajijia Myrayebe,
Negative Approach,
Hot Snakes,
Larry & the Blue Notes,
The Names,
The Blues Magoos,
Skarface,
48th St. Collective,
Simply Red,
Juan Atkins,
Jeff Lynne,
China Crisis,
K-Klass,
Kerrie Biddell,
Average White Band,
Oblivians,
Kango’s Stein Massive,
PIL,
MDC,
Wally Richardson,
The Mummies,
The Blackbyrds,
Laurel Aitken,
AZ,
Darondo,
Inner City,
Dead Boys,
Connie Case,
Red Lorry Yellow Lorry,
Harmonia,
Angry Samoans,
Hoover,
Amon Düül,
Guru Guru,
Althea and Donna,
The Detroit Cobras,
Unwound,
Stereo Dub,
The Smiths,
Marc Romboy vs. Booka Shade,
Mandrill,
Pylon,
Mantronix,
The Fortunes,
D'Angelo,
The Toasters, The Toasters, The Toasters, The Toasters.
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.