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 Dominican Republic and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in New York and Spokane.
I'm losing my edge to the art-school Houston 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 chamberlin 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 Motorama to the punk 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 Japan. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Public Image Ltd.,
Fear,
Angels of Light & Akron/Family,
ABC,
Delon & Dalcan,
Gang of Four,
The Electric Prunes,
Echospace,
LL Cool J,
The Cowsills,
Fluxion,
Nik Kershaw,
Lizzy Mercier Descloux,
The Mojo Men,
Moebius,
Beasts of Bourbon,
Loose Ends,
the Normal,
Saccharine Trust,
Guru Guru,
The Fortunes,
Country Joe & The Fish,
Mark Hollis,
Flash Fearless,
Gian Franco Pienzio,
Stetsasonic,
Barbara Tucker,
Bootsy Collins,
The Sound,
John Holt,
Zero Boys,
Arthur Verocai,
Notorious BIG live in Amsterdam,
Cymande,
Black Pus,
Stockholm Monsters,
Siouxsie and the Banshees,
Richard Hell and the Voidoids,
Alton Ellis,
Todd Rundgren,
Big Daddy Kane,
Eve St. Jones,
Wings,
X-Ray Spex,
Average White Band,
Los Fastidios,
The Mighty Diamonds,
Bush Tetras,
Black Flag,
Stereo Dub,
Mad Mike,
48th St. Collective,
Mantronix,
The American Breed,
The Zeros,
Strawberry Alarm Clock,
Newcleus,
the Slits,
The Grass Roots,
Notorious Big And Bone Thugs,
Kango’s Stein Massive,
Basic Channel,
Surgeon, Surgeon, Surgeon, Surgeon.
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.