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 Cameroon and from Johannesburg.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 The Litter to the crunk kids.
I played it at the Astoria.
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 Davy DMX. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal grunge 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 an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Lou Reed & John Cale,
Guru Guru,
L. Decosne,
Kurtis Blow,
Joyce Sims,
Louis and Bebe Barron,
Alice Coltrane,
New York Dolls,
Larry & the Blue Notes,
The American Breed,
Amazonics,
Symarip,
Soft Machine,
ABBA,
Tropical Tobacco,
Be Bop Deluxe,
Stetsasonic,
Public Enemy,
Kings Of Tomorrow,
Todd Terry,
the Slits,
Altered Images,
Zero Boys,
the Soft Cell,
The Mojo Men,
Bobby Womack,
Soulsonic Force,
Scion,
Los Fastidios,
The Durutti Column,
Al Stewart,
Panda Bear,
Scan 7,
The Litter,
Albert Ayler,
Bootsy Collins,
Yazoo,
U.S. Maple,
Joe Finger,
the Fania All-Stars,
Sugar Minott,
La Düsseldorf,
Toni Rubio,
Model 500,
The Electric Prunes,
Funky Four + One,
Heaven 17,
FM Einheit,
Dave Gahan,
The Sound,
The Remains,
Lindisfarne,
Mission of Burma,
Sällskapet,
The Peanut Butter Conspiracy,
Ronnie Foster,
Eric Copeland,
The Fire Engines,
Black Moon,
Avey Tare's Slasher Flicks,
Echospace,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.