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 Serbia and from Lille.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Seoul and Stockholm.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the organ 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 Hashim to the rock kids.
I played it at the Astoria.
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 The Neon Judgement. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Stetsasonic 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Funky Four + One,
ABC,
The Wake,
The Five Americans,
Quadrant,
Hashim,
The Flesh Eaters,
Rosa Yemen,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron & Brian Jackson,
Khruangbin,
Ossler,
Urselle,
Eli Mardock,
Public Image Ltd.,
The Men They Couldn't Hang,
the Soft Cell,
The Sound,
The Mighty Diamonds,
Model 500,
John Coltrane,
Wire,
Jimmy McGriff,
Massinfluence,
Flamin' Groovies,
cv313,
Maurizio,
Camberwell Now,
Black Bananas,
Gregory Isaacs,
Eve St. Jones,
Smog,
The Tremeloes,
Kerrie Biddell,
Fear,
Lebanon Hanover,
Delta 5,
Organ,
Accadde A,
Eyeless In Gaza,
De La Soul & Jungle Brothers,
Altered Images,
Stetsasonic,
T.S.O.L.,
Josef K,
Gastr Del Sol,
The J.B.'s,
Lucky Dragons,
Oneida,
The Cowsills,
Index,
Pharoah Sanders,
Lalann,
The American Breed,
Procol Harum,
Deutsch Amerikanische Freundschaft,
Funkadelic,
Barclay James Harvest,
The Saints,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.