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 Papua New Guinea and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school London 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 organ 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 Larry & the Blue Notes 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 OOIOO. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Toni Rubio,
Mandrill,
Roy Ayers Ubiquity,
Lakeside,
Los Fastidios,
The Saints,
Blossom Toes,
The Moleskins,
The Count Five,
Harpers Bizarre,
The Walker Brothers,
Delta 5,
a-ha,
Bootsy's Rubber Band,
Radio Birdman,
Popol Vuh,
Kango’s Stein Massive,
The Chocolate Watch Band,
Bobby Byrd,
James White and The Blacks,
Andrew Hill,
Suicide,
R.M.O.,
Barclay James Harvest,
Sam Rivers,
Amon Düül,
Lizzy Mercier Descloux,
Pylon,
Simply Red,
Jandek,
Siouxsie and the Banshees,
The Durutti Column,
Amon Düül II,
Red Lorry Yellow Lorry,
Young Marble Giants,
Susan Cadogan,
Von Mondo,
Max Romeo,
Gil Scott-Heron & Brian Jackson,
Monolake,
Public Enemy,
Con Funk Shun,
James Chance & The Contortions,
Brand Nubian,
Joe Finger,
Eden Ahbez,
Talk Talk,
Super Lover Cee & Casanova Rud,
Harmonia,
Cabaret Voltaire,
X-102,
David McCallum,
The Litter,
Ten City,
Terrestrial Tones,
Lalo Schifrin,
Sound Behaviour,
The United States of America,
John Holt, John Holt, John Holt, John Holt.
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.