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 Madagascar and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lyon and Winnipeg.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Chic practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Bobby Hutcherson to the jazz kids.
I played it at Cafe Wha.
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 Todd Terry. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal grime 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 a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
Zero Boys,
Jesper Dahlbäck,
Ice-T,
Camberwell Now,
Monolake,
Lou Reed,
Index,
Matthew Halsall,
Arthur Verocai,
Kurtis Blow,
Lower 48,
Angels of Light & Akron/Family,
Josef K,
Talk Talk,
Bang on a Can All-Stars,
Erasure,
Rosa Yemen,
The Neon Judgement,
Sex Pistols,
Can,
The Slackers,
Eddi Front,
Swell Maps,
Soul Sonic Force,
The Moleskins,
Joe Smooth,
Echo & the Bunnymen,
Khruangbin,
Thompson Twins,
H. Thieme,
Ultravox,
10cc,
the Bar-Kays,
Blossom Toes,
Liaisons Dangereuses,
Section 25,
Aaron Thompson,
Flash Fearless,
Grandmaster Flash and the Furious Five,
Piero Umiliani,
Sun Ra Arkestra,
Gil Scott Heron,
Joe Finger,
Stockholm Monsters,
The Divine Comedy,
Marine Girls,
Visionaries,LMNO, T- Love & Iriscience,
Kerrie Biddell,
Fort Wilson Riot,
The Fortunes,
Pharaoh Sanders and the Fire Engines,
Desert Stars,
Whodini,
X-102,
Jimmy McGriff,
Bang On A Can,
Ken Boothe,
Make Up,
Joensuu 1685,
Jawbox, Jawbox, Jawbox, Jawbox.
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.