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 United States and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1974.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Accra 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Roy Ayers Ubiquity to the crunk 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 Chrome. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Lower 48 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
The Names,
Davy DMX,
Curtis Mayfield,
Kaleidoscope,
Ralphi Rosario,
Strawberry Alarm Clock,
Pylon,
Marvin Gaye,
Ultimate Spinach,
Pulsallama,
Anthony Braxton,
Absolute Body Control,
Robert Görl,
Fatback Band,
Pagans,
This Heat,
Gerry Rafferty,
The Trojans,
Alison Limerick,
Hot Snakes,
A Certain Ratio,
The Cramps,
Albert Ayler,
Marc Almond,
Roxy Music,
Dead Boys,
Organ,
The Fire Engines,
The Alarm Clocks,
Peter & Gordon,
It's A Beautiful Day,
Rotary Connection,
Godley & Creme,
New Order,
Amon Düül,
Alphaville,
Monolake,
Soulsonic Force,
Warsaw,
Röyhkä ja Rättö ja Lehtisalo,
Urselle,
Junior Murvin,
World's Most,
Freddie Wadling,
Johnny Osbourne,
Mr. Review,
the Fania All-Stars,
Super Lover Cee & Casanova Rud,
John Cale,
Youth Brigade,
Visionaries,LMNO, T- Love & Iriscience,
Hardrive,
Marc Romboy vs. Booka Shade,
Zapp,
The Chocolate Watch Band,
Mary Jane Girls,
Swell Maps,
Ronnie Foster,
The Doors,
Motorama,
Jacques Brel,
Ossler, Ossler, Ossler, Ossler.
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.