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 Bosnia Herzegovina and from Bremen.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Spokane and New York.
I'm losing my edge to the art-school Manchester 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 spring reverb 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 Black Sheep to the funk 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 It's A Beautiful Day. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every DNA 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Frankie Knuckles record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Alison Limerick,
Louis and Bebe Barron,
The Neon Judgement,
Lucky Dragons,
Arab on Radar,
World's Most,
Newcleus,
Lou Reed,
Sandy B,
Kevin Saunderson,
Morten Harket,
Gil Scott-Heron & Brian Jackson,
Richard Hell and the Voidoids,
Robert Hood,
Yaz,
Barry Ungar,
Stetsasonic,
Basic Channel,
The Dead C,
Television Personalities,
The Sisters of Mercy,
Danielle Patucci,
Susan Cadogan,
Sight & Sound,
The Angels of Light,
Visionaries,LMNO, T- Love & Iriscience,
Bizarre Inc.,
Flamin' Groovies,
The Selecter,
Ash Ra Tempel,
Pulsallama,
Public Enemy,
Lyres,
The Doors,
Black Bananas,
Patti Smith,
Pharaoh Sanders and the Fire Engines,
Yusef Lateef,
The Sound,
Bad Manners,
Pharoah Sanders,
The J.B.'s,
London Community Gospel Choir,
Fad Gadget,
X-102,
Isaac Hayes,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Wire,
Nirvana,
Bush Tetras,
James Chance & The Contortions,
The Names,
Lee Hazlewood,
Matthew Halsall,
L. Decosne,
X-101,
Panda Bear,
Quantec,
Prince Buster,
The Mummies, The Mummies, The Mummies, The Mummies.
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.