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 Ivory Coast and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Portland.
I'm losing my edge to the art-school Sao Paulo 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Lucky Dragons to the jazz 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 Pagans. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal grime 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 a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Gichy Dan,
Liliput,
Big Daddy Kane,
Monks,
The Cramps,
Deepchord,
Neu!,
The Tremeloes,
Scott Walker + Sunn O))),
Bang On A Can,
MDC,
Maurizio,
The Busters,
Isaac Hayes,
Jeff Lynne,
World's Most,
Banda Bassotti,
Josef K,
The Motions,
Blossom Toes,
Eddi Front,
Louis and Bebe Barron,
Mars,
Dual Sessions,
Sex Pistols,
Ash Ra Tempel,
Amon Düül,
X-102,
Röyhkä ja Rättö ja Lehtisalo,
Masters at Work,
The American Breed,
Yusef Lateef,
DJ Style,
Aswad,
the Slits,
Barbara Tucker,
A Flock of Seagulls,
Be Bop Deluxe,
Wighnomy Brothers & Robag Wruhme,
Johnny Clarke,
Terry Callier,
Ultra Naté,
Kerri Chandler,
The Litter,
Bill Near,
Justin Hinds & The Dominoes,
Fear,
Donny Hathaway,
Sister Nancy,
Bobby Hutcherson,
Brass Construction,
It's A Beautiful Day,
Al Stewart,
Vaughan Mason & Crew,
Bizarre Inc.,
U.S. Maple,
Letta Mbulu,
Anakelly,
The Leaves,
Gary Puckett & The Union Gap,
Angry Samoans,
Bluetip, Bluetip, Bluetip, Bluetip.
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.