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 Denmark and from Jakarta.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1978.
I'm losing my edge.
To all the kids in Milan and Salvador.
I'm losing my edge to the art-school Beijing 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 theremin 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 Max Romeo to the punk kids.
I played it at the Hacienda.
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 Flipper. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Althea and Donna,
Barclay James Harvest,
New Order,
Black Sheep,
John Holt,
Warren Ellis,
Faraquet,
Pantytec,
Moebius,
Cal Tjader,
New York Dolls,
Tropical Tobacco,
The Moleskins,
Blake Baxter,
London Community Gospel Choir,
Bang On A Can,
OOIOO,
Alphaville,
Piero Umiliani,
The Raincoats,
Lakeside,
Siouxsie and the Banshees,
Rapeman,
Skriet,
Parry Music,
Judy Mowatt,
Echo & the Bunnymen,
Heavy D & The Boyz,
Alison Limerick,
Public Image Ltd.,
The Doobie Brothers,
Neil Young,
Television,
Lalann,
The Monks,
Urselle,
Wighnomy Brothers & Robag Wruhme,
Radiopuhelimet,
Morten Harket,
Rhythm & Sound,
Peter & Gordon,
The Skatalites,
Wally Richardson,
The Techniques,
Average White Band,
Yaz,
Model 500,
Groovy Waters,
Kool Moe Dee,
Trumans Water,
E-Dancer,
The Divine Comedy,
Funkadelic,
F. McDonald,
Tomorrow,
The Slackers,
Au Pairs,
the Bar-Kays,
Nico,
Eric Copeland,
The Gladiators,
The Velvet Underground,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.