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 Finland and from Tehran.
But I was there.
I was there in .
I was there at the first Suicide 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 1961 to 1974.
I'm losing my edge.
To all the kids in Lyon and Beijing.
I'm losing my edge to the art-school Madrid 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 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 Notorious BIG live in Amsterdam to the disco kids.
I played it at the Crocodile.
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 8 Eyed Spy. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal techno 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 a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
The Blackbyrds,
Beasts of Bourbon,
Television,
The Cramps,
Alton Ellis,
the Human League,
Sarah Menescal,
The Doors,
Absolute Body Control,
The Monochrome Set,
Mark Hollis,
Fela Kuti,
The Dave Clark Five,
Von Mondo,
Judy Mowatt,
Country Teasers,
The Divine Comedy,
Ten City,
Mandrill,
Bobby Hutcherson,
A Flock of Seagulls,
the Fania All-Stars,
Pierre Henry,
Graham Central Station,
Avey Tare,
The Knickerbockers,
The Slits,
The Sonics,
a-ha,
Amazonics,
Eurythmics,
Throbbing Gristle,
Con Funk Shun,
Crispian St. Peters,
Essential Logic,
The Cosmic Jokers,
Marcia Griffiths,
Warsaw,
Metal Thangz,
Bobby Womack,
The Litter,
Tom Boy,
K-Klass,
Kerrie Biddell,
Sun Ra,
Anakelly,
Spoonie Gee,
Robert Wyatt,
JFA,
Jesper Dahlback,
The Electric Prunes,
Bush Tetras,
Bobbi Humphrey,
Laurel Aitken,
Harpers Bizarre,
Wighnomy Brothers & Robag Wruhme,
Sixth Finger,
T.S.O.L.,
Procol Harum,
Bizarre Inc.,
Moebius,
Shuggie Otis,
Faust,
Livin' Joy, Livin' Joy, Livin' Joy, Livin' Joy.
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.