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 Dominican Republic and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Manchester 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 Lou Reed 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 Ice-T to the dance 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 X-102. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your güiro and bought a guitar.
I hear that you and your band have sold your guitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Notorious BIG live in Amsterdam,
Lonnie Liston Smith,
Aural Exciters,
Harpers Bizarre,
The Sound,
Kool Moe Dee,
Freddie Wadling,
Be Bop Deluxe,
Slick Rick,
Pantaleimon,
Blancmange,
Inner City,
Interpol,
Drexciya,
D'Angelo,
Yellowson,
Adolescents,
Sex Pistols,
Slave,
Thompson Twins,
The Index,
Fort Wilson Riot,
Jacques Brel,
Clear Light,
Siglo XX,
Gang Green,
The Fire Engines,
Richard Hell and the Voidoids,
The Mojo Men,
Sugar Minott,
Gang of Four,
The Golliwogs,
JFA,
Oneida,
The Litter,
Warsaw,
Sad Lovers and Giants,
Marmalade,
T.S.O.L.,
The West Coast Pop Art Experimental Band,
Lalo Schifrin,
Public Image Ltd.,
the Germs,
Young Marble Giants,
Negative Approach,
Jeff Lynne,
Circle Jerks,
Sam Rivers,
Mandrill,
The Kinks,
LL Cool J,
The Dirtbombs,
Grandmaster Flash and the Furious Five,
Chris Corsano,
Con Funk Shun,
The Doobie Brothers,
Althea and Donna,
Panda Bear,
E-Dancer,
AZ,
Super Lover Cee & Casanova Rud,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.