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 Hungary and from Winnipeg.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Seoul and Lagos.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 Skaos to the grunge 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 Deakin. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a H. Thieme 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?
Quando Quango,
Mandrill,
James White and The Blacks,
Aloha Tigers,
Audionom,
Electric Light Orchestra,
DNA,
Stiv Bators,
Moby Grape,
Arab on Radar,
Anthony Braxton,
Sam Rivers,
Hoover,
The Slits,
UT,
Interpol,
Richard Hell and the Voidoids,
Con Funk Shun,
Goldenarms,
The Martian,
the Germs,
Tim Buckley,
Loose Ends,
The Zeros,
David McCallum,
Moss Icon,
Outsiders,
Lizzy Mercier Descloux,
Donny Hathaway,
David Bowie,
Danielle Patucci,
Delon & Dalcan,
Sixth Finger,
The Mojo Men,
The Sisters of Mercy,
The Velvet Underground,
Ossler,
John Holt,
The Leaves,
Avey Tare & Kría Brekkan,
Brass Construction,
Maurizio,
The Cosmic Jokers,
Tomorrow,
Bauhaus,
The Black Dice,
Funkadelic,
Public Enemy,
Quantec,
The Wake,
La Düsseldorf,
Orchestral Manoeuvres in the Dark,
The Offenders,
The Dead C,
Flamin' Groovies,
Gichy Dan,
The J.B.'s,
Dawn Penn,
Skriet,
Dead Boys,
Rowland S Howard / Lydia Lunch,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.