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 Uruguay and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Milan 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Amon Düül to the crunk kids.
I played it at CBGB's.
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 Barracudas. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Terrestrial Tones 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
The Human League,
Popol Vuh,
The Gun Club,
Boz Scaggs,
Jesper Dahlback,
Accadde A,
Banda Bassotti,
Eve St. Jones,
The Black Dice,
Delta 5,
Gary Puckett & The Union Gap,
Wolf Eyes,
Derrick May,
Brass Construction,
Joensuu 1685,
Crime,
Alison Limerick,
The Neon Judgement,
Deutsch Amerikanische Freundschaft,
The Electric Prunes,
Sunsets and Hearts,
The Golliwogs,
Procol Harum,
Pulsallama,
Unrelated Segments,
Harry Pussy,
Shuggie Otis,
Section 25,
Big Daddy Kane,
Eric B and Rakim,
Von Mondo,
Deadbeat,
Q and Not U,
Public Image Ltd.,
Icehouse,
The Beau Brummels,
Khruangbin,
Ohio Players,
Flash Fearless,
Fear,
Masters at Work,
Cal Tjader,
Todd Terry,
Newcleus,
Davy DMX,
Buzzcocks,
The Smoke,
John Foxx,
John Holt,
T.S.O.L.,
Marine Girls,
the Fania All-Stars,
Robert Görl,
Yaz,
ABBA,
Derrick Morgan,
Spoonie Gee,
The Walker Brothers,
Todd Rundgren,
Peter & Gordon,
The Cramps,
Harmonia,
Oneida, Oneida, Oneida, Oneida.
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.