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 Norway and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Accra and Jakarta.
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 synthesizer 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 The Electric Prunes to the punk kids.
I played it at the Roxy.
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 Scan 7. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Royal Trux,
Pharaoh Sanders and the Fire Engines,
Ossler,
Cameo,
Skarface,
Moby Grape,
The Gap Band,
The Evens,
The Smiths,
Suicide,
Colin Newman,
Amon Düül,
The Mighty Diamonds,
the Association,
DJ Style,
Mission of Burma,
B.T. Express,
The Martian,
Kool G Rap & DJ Polo,
cv313,
Donny Hathaway,
Boz Scaggs,
Liaisons Dangereuses,
Kerrie Biddell,
Television Personalities,
L. Decosne,
John Holt,
Captain Beefheart & His Magic Band,
OOIOO,
Ronan,
Arthur Verocai,
Fat Boys,
Idris Muhammad,
Sun Ra,
Joe Smooth,
Public Image Ltd.,
Marcia Griffiths,
Prince Buster,
Rakim,
Amon Düül II,
Warsaw,
Byron Stingily,
Flamin' Groovies,
Terrestrial Tones,
Wighnomy Brothers & Robag Wruhme,
Anthony Braxton,
Alton Ellis,
the Swans,
The Fortunes,
Flipper,
Porter Ricks,
Lee Hazlewood,
Sparks,
Notorious BIG live in Amsterdam,
Q65,
The Modern Lovers,
Visionaries,LMNO, T- Love & Iriscience,
Beasts of Bourbon,
Scan 7,
Erykah Badu,
Pierre Henry,
Kurtis Blow,
Lungfish, Lungfish, Lungfish, Lungfish.
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.