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 Zimbabwe and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Glasgow 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 oboe 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 Average White Band to the crunk kids.
I played it at the Astoria.
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 Bush Tetras. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Tears for Fears 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Masters at Work,
Fad Gadget,
Blake Baxter,
Lou Christie,
The Invisible,
David McCallum,
Byron Stingily,
Groovy Waters,
Monolake,
Intrusion,
Saccharine Trust,
The Blackbyrds,
Angry Samoans,
The Red Krayola,
Mars,
New Order,
The Count Five,
Section 25,
Yaz,
T.S.O.L.,
The Grass Roots,
Jimmy McGriff,
Charles Mingus,
H. Thieme,
Laurel Aitken,
Clear Light,
Flamin' Groovies,
Yusef Lateef,
X-101,
Wighnomy Brothers & Robag Wruhme,
Bill Wells,
JFA,
the Association,
These Immortal Souls,
The Skatalites,
Goldenarms,
Kevin Saunderson,
Erasure,
Thee Headcoats,
The Litter,
The Residents,
Siouxsie and the Banshees,
DNA,
Half Japanese,
Tres Demented,
Country Teasers,
Jesper Dahlbäck,
John Cale,
Deakin,
Ornette Coleman,
Kauko Röyhkä ja Narttu,
Public Image Ltd.,
the Soft Cell,
The American Breed,
The Fire Engines,
The Gories,
Jerry's Kids,
Donald Byrd,
Sunsets and Hearts,
World's Most,
Peter Gordon & Love of Life Orchestra,
Electric Light Orchestra,
Joe Smooth,
KRS-One, KRS-One, KRS-One, KRS-One.
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.