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 Moldova and from London.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school Lyon 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Ultra Naté to the grunge kids.
I played it at the Troubador.
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 Spoonie Gee. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage 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?
The Offenders,
The Young Rascals,
The Gap Band,
This Heat,
The Fall,
Von Mondo,
Brothers Johnson,
Ultimate Spinach,
Eyeless In Gaza,
The Saints,
Minny Pops,
Chrome,
Joensuu 1685,
Young Marble Giants,
Radiohead,
KRS-One,
Be Bop Deluxe,
The Men They Couldn't Hang,
Beasts of Bourbon,
Joy Division,
Camron Feat. Jay Z And Juelz,
Lower 48,
Bluetip,
Jesper Dahlbäck,
Wolf Eyes,
Desert Stars,
Underground Resistance,
Jimmy McGriff,
John Coltrane,
The Doobie Brothers,
Sight & Sound,
The Grass Roots,
Drexciya,
Pussy Galore,
Scan 7,
Selector Dub Narcotic,
Fat Boys,
Livin' Joy,
Surgeon,
DeepChord presents Echospace,
Bill Wells,
Rites of Spring,
Camberwell Now,
Echo & the Bunnymen,
Amon Düül II,
Avey Tare's Slasher Flicks,
the Sonics,
James White and The Blacks,
Goldenarms,
Graham Central Station,
The Fortunes,
Janne Schatter,
Bootsy Collins,
Judy Mowatt,
Icehouse,
the Fania All-Stars,
The West Coast Pop Art Experimental Band,
Slick Rick,
A Flock of Seagulls,
Avey Tare & Kría Brekkan,
Oneida,
Eddi Front,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.