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 Congo and from Calgary.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 United States of America to the funk kids.
I played it at the 40 Watt.
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 Robert Hood. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Gary Puckett & The Union Gap,
Pylon,
a-ha,
The Electric Prunes,
Fatback Band,
Steve Hackett,
Nik Kershaw,
The Slackers,
Cal Tjader,
Hasil Adkins,
Rakim,
The Chocolate Watch Band,
Lonnie Liston Smith,
The Standells,
the Swans,
Albert Ayler,
Scratch Acid,
AZ,
Metal Thangz,
The Last Poets,
Andrew Ashong & Theo Parrish,
Hoover,
Aaron Thompson,
The Moleskins,
Be Bop Deluxe,
Second Layer,
Todd Rundgren,
Ash Ra Tempel,
Reagan Youth,
T. Rex,
Lucky Dragons,
John Lydon,
Minnie Riperton,
The Cramps,
The Dave Clark Five,
Howard Jones,
Gil Scott-Heron & Brian Jackson,
The Angels of Light,
Ajijia Myrayebe,
The Doors,
The Motions,
Crispian St. Peters,
New Age Steppers,
Peter and Kerry,
The Modern Lovers,
Eric Dolphy,
Marc Romboy vs. Booka Shade,
Manfred Mann's Earth Band,
Soulsonic Force,
Soft Machine,
Pharaoh Sanders and the Fire Engines,
Curtis Mayfield,
The Gories,
Bauhaus,
Arthur Verocai,
Icehouse,
Desert Stars,
Derrick May,
In Retrospect,
L. Decosne,
Au Pairs,
Frankie Knuckles,
The Jesus and Mary Chain,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.