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 Switzerland and from Milan.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Beijing 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 K-Klass to the techno kids.
I played it at the Hacienda.
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 Slave. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Deadbeat 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
The J.B.'s,
Soft Cell,
Deepchord,
Fear,
The Mighty Diamonds,
Harmonia,
The Tremeloes,
Bizarre Inc.,
Barclay James Harvest,
The Associates,
The Leaves,
Matthew Halsall,
The Grass Roots,
Main Source,
Andrew Ashong & Theo Parrish,
Rosa Yemen,
Vladislav Delay,
Orchestral Manoeuvres in the Dark,
Outsiders,
Sad Lovers and Giants,
Country Joe & The Fish,
Index,
Bronski Beat,
Nation of Ulysses,
Drive Like Jehu,
Man Parrish,
Gabor Szabo,
The Happenings,
The Durutti Column,
Audionom,
X-101,
Babytalk,
Guru Guru,
Agent Orange,
Ten City,
Alice Coltrane,
The Selecter,
LL Cool J,
The Fuzztones,
Darondo,
Banda Bassotti,
The Red Krayola,
Pantytec,
Bob Dylan,
Bush Tetras,
Grey Daturas,
Bang on a Can All-Stars,
Scott Walker + Sunn O))),
The Electric Prunes,
Schoolly D,
Flipper,
Avey Tare,
the Human League,
Dawn Penn,
Graham Central Station,
Clear Light,
Pantaleimon,
the Swans,
Faust,
Jerry Gold Smith,
Boogie Down Productions,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.