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 Korea North and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1976.
I'm losing my edge.
To all the kids in Manila and Jakarta.
I'm losing my edge to the art-school Stockholm 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 linndrum sounds with much patience.
I was there when Lou Reed 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 The Red Krayola to the dance 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 Hot Snakes. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Masters at Work,
Gary Puckett & The Union Gap,
Monks,
Gerry Rafferty,
Amon Düül,
48th St. Collective,
Lizzy Mercier Descloux,
Curtis Mayfield,
June Days,
L. Decosne,
Charles Mingus,
Minny Pops,
Bad Manners,
The Doors,
Harpers Bizarre,
Eric Dolphy,
Marshall Jefferson,
Pere Ubu,
CMW,
Can,
Rotary Connection,
Heaven 17,
Public Image Ltd.,
Terrestrial Tones,
Nico,
Radio Birdman,
Siouxsie and the Banshees,
The Gories,
Terror Squad Feat. Camron,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sonic Youth,
The Grass Roots,
Joensuu 1685,
Joey Negro,
Fad Gadget,
Jeff Lynne,
The Gladiators,
Mantronix,
Judy Mowatt,
Deepchord,
Marc Almond,
Art Ensemble Of Chicago,
The Birthday Party,
Flipper,
Accadde A,
The Gap Band,
Sunsets and Hearts,
Liaisons Dangereuses,
The Mojo Men,
Dave Gahan,
Arab on Radar,
Lakeside,
June of 44,
Bush Tetras,
The Buckinghams,
Nirvana,
The Techniques,
Yellowson,
Deutsch Amerikanische Freundschaft,
Flash Fearless,
Ultramagnetic MC's,
Franke,
Suburban Knight,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.