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 Peru 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 1960 to 1970.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Edmonton 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 Human League practice in a loft in Sheffield.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 John Holt 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 Boz Scaggs. All the underground hits.
All Wings tracks. I heard you have a vinyl of every The Five Americans record on German import.
I heard that you have a white label of every seminal dance 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Siglo XX,
Mission of Burma,
Ultravox,
The Zeros,
It's A Beautiful Day,
Albert Ayler,
Niagra,
Pierre Henry,
Camberwell Now,
Marc Romboy vs. Booka Shade,
The Mummies,
Cecil Taylor,
AZ,
Fear,
Royal Trux,
The Beau Brummels,
Clear Light,
Man Eating Sloth,
The Divine Comedy,
The Residents,
Fifty Foot Hose,
the Fania All-Stars,
Manfred Mann's Earth Band,
Spandau Ballet,
Lungfish,
The Slits,
Monks,
Section 25,
ABC,
The Motions,
Major Organ And The Adding Machine,
Q65,
These Immortal Souls,
James Chance & The Contortions,
Fugazi,
The Mojo Men,
Essential Logic,
Trumans Water,
Moby Grape,
Inner City,
One Last Wish,
Ohio Players,
The Jesus and Mary Chain,
Crispian St. Peters,
Can,
Bauhaus,
Interpol,
Grandmaster Flash and the Furious Five,
Peter and Kerry,
Newcleus,
the Slits,
Gong,
Nick Fraelich,
Black Sheep,
Alison Limerick,
CMW,
Loose Ends,
Ornette Coleman,
Camouflage,
The Star Department,
Jerry's Kids,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.