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 France and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Bobby Byrd to the jazz 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 Chris & Cosey. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal funk 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 sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
Robert Wyatt,
The Beau Brummels,
New Age Steppers,
Lebanon Hanover,
Big Daddy Kane,
Fad Gadget,
Howard Jones,
Max Romeo,
Visionaries,LMNO, T- Love & Iriscience,
Alphaville,
Sad Lovers and Giants,
10cc,
Mark Hollis,
Jeff Mills,
Funkadelic,
Pylon,
Bad Manners,
Scratch Acid,
Harpers Bizarre,
Audionom,
Public Enemy,
The Alarm Clocks,
Procol Harum,
Qualms,
Cal Tjader,
Yaz,
Kango’s Stein Massive,
The Detroit Cobras,
Girls At Our Best!,
Cabaret Voltaire,
Swans,
Dark Day,
Neil Young & Crazy Horse,
Scion,
the Sonics,
Country Teasers,
Man Parrish,
The Music Machine,
The Toasters,
The Doobie Brothers,
Beasts of Bourbon,
Pere Ubu,
Tom Boy,
The Wake,
Moby Grape,
De La Soul & Jungle Brothers,
Thee Headcoats,
Harmonia,
Al Stewart,
Wings,
Judy Mowatt,
Country Joe & The Fish,
Blancmange,
Newcleus,
Deakin,
Angels of Light & Akron/Family,
Peter and Kerry,
Laurel Aitken,
Kurtis Blow,
The Monochrome Set,
Toni Rubio,
Selector Dub Narcotic,
Altered Images, Altered Images, Altered Images, Altered Images.
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.