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 Micronesia and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Calgary 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 chamberlin 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 Icehouse to the rock kids.
I played it at Cafe Wha.
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 Malaria! tracks. I heard you have a vinyl of every Faraquet 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Motorama,
Matthew Bourne,
Bronski Beat,
Bizarre Inc.,
Siouxsie and the Banshees,
The Mojo Men,
Mary Jane Girls,
Harpers Bizarre,
Aural Exciters,
Echospace,
The Stooges,
Rekid,
Eddi Front,
Half Japanese,
The Move,
Robert Wyatt,
Babytalk,
Grey Daturas,
Howard Jones,
The Monochrome Set,
Bill Wells,
Absolute Body Control,
the Swans,
Joensuu 1685,
Khruangbin,
F. McDonald,
Mandrill,
Sad Lovers and Giants,
Jerry Gold Smith,
Bobby Sherman,
Hashim,
Gang Starr,
Nas,
Fear,
The Index,
Reagan Youth,
Richard Hell and the Voidoids,
Skarface,
Minnie Riperton,
Eden Ahbez,
The Cowsills,
Pagans,
Yusef Lateef,
Flipper,
Vainqueur,
Liaisons Dangereuses,
Cymande,
Model 500,
Loose Ends,
Kenny Larkin,
Neu!,
Henry Cow,
Brothers Johnson,
Nico,
Ken Boothe,
X-Ray Spex,
Jandek,
Joey Negro,
Smog,
Schoolly D,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.