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 Haiti and from Jakarta.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Beau Brummels to the electroclash kids.
I played it at CBGB's.
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 UT. All the underground hits.
All N.O.R.E. Featuring Pharrell tracks. I heard you have a vinyl of every The Invisible 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Lakeside,
New Order,
Grandmaster Flash and the Furious Five,
Kango’s Stein Massive,
New York Dolls,
Technova,
Spandau Ballet,
Malaria!,
David McCallum,
Main Source,
Whodini,
The Offenders,
Dennis Brown,
Duran Duran,
The Move,
Andrew Ashong & Theo Parrish,
Mr. Review,
Röyhkä ja Rättö ja Lehtisalo,
Lafayette Afro Rock Band,
Major Organ And The Adding Machine,
Altered Images,
Sugar Minott,
Sparks,
Theoretical Girls,
Bobby Womack,
Kurtis Blow,
The Fortunes,
Traffic Nightmare,
Gichy Dan,
Gastr Del Sol,
ABBA,
The Sisters of Mercy,
Steve Hackett,
Jacob Miller,
Television Personalities,
Grandmaster Flash,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Cure,
Flipper,
Aaron Thompson,
Ajijia Myrayebe,
Dark Day,
Marc Almond,
Pet Shop Boys,
Barrington Levy,
Pere Ubu,
Grauzone,
The Tremeloes,
Jacques Brel,
Bang on a Can All-Stars,
Kaleidoscope,
China Crisis,
Marcia Griffiths,
Suburban Knight,
Heaven 17,
Kas Product,
the Soft Cell,
The Evens,
Derrick May,
Subhumans, Subhumans, Subhumans, Subhumans.
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.