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 Libya and from Copenhagen.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Lyon 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 Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Dorothy Ashby to the crunk kids.
I played it at the Spitz.
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 Radiohead. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Pretty Things,
Fifty Foot Hose,
Von Mondo,
Skriet,
Major Organ And The Adding Machine,
Moby Grape,
John Coltrane,
Pharaoh Sanders and the Fire Engines,
Judy Mowatt,
Technova,
L. Decosne,
The Victims,
Flash Fearless,
Gastr Del Sol,
Lakeside,
Black Sheep,
The Litter,
Silicon Teens,
Vaughan Mason & Crew,
Fat Boys,
The Divine Comedy,
The Raincoats,
Tres Demented,
Brand Nubian,
Tomorrow,
Todd Terry,
Marine Girls,
Ronan,
Stetsasonic,
The Knickerbockers,
Sandy B,
Fela Kuti,
DNA,
John Lydon,
The Trojans,
Monks,
Bush Tetras,
The Jesus and Mary Chain,
Matthew Bourne,
Lee Hazlewood,
Gang Green,
the Fania All-Stars,
Joy Division,
Ralphi Rosario,
Trumans Water,
Magazine,
Amon Düül,
The Gladiators,
Mars,
Wire,
Youth Brigade,
June Days,
Rites of Spring,
Pet Shop Boys,
Bronski Beat,
Juan Atkins,
Barry Ungar,
De La Soul & Jungle Brothers,
Aural Exciters,
The J.B.'s,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.