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 Marshall Islands and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Cairo.
I'm losing my edge to the art-school Manila 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 Oblivians to the punk 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 Eve St. Jones. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Louis and Bebe Barron,
John Holt,
Soulsonic Force,
Lee Hazlewood,
Mandrill,
Max Romeo,
Ajijia Myrayebe,
Mantronix,
Jawbox,
F. McDonald,
AZ,
Bobby Womack,
Shuggie Otis,
The Beau Brummels,
Chris & Cosey,
Alphaville,
The Five Americans,
Jimmy McGriff,
Masters at Work,
Sam Rivers,
Albert Ayler,
Lafayette Afro Rock Band,
The Mighty Diamonds,
Inner City,
La Düsseldorf,
Andrew Ashong & Theo Parrish,
Sonic Youth,
Gabor Szabo,
The Star Department,
Hardrive,
Echospace,
David Bowie,
The Residents,
Rod Modell,
Big Daddy Kane,
Radiohead,
The Golliwogs,
The Sound,
Easy Going,
Reagan Youth,
Slick Rick,
Pagans,
This Heat,
Marvin Gaye,
Icehouse,
Glenn Branca,
the Association,
Beasts of Bourbon,
The Modern Lovers,
Jeff Lynne,
Danielle Patucci,
Erykah Badu,
Fatback Band,
Procol Harum,
Cal Tjader,
Johnny Clarke,
Donny Hathaway,
Wolf Eyes,
Blake Baxter,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.