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 Mali and from Lille.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1971.
I'm losing my edge.
To all the kids in Hong Kong and Halifax.
I'm losing my edge to the art-school Bologna 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 Scratch Acid to the grunge 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 Crime. All the underground hits.
All Mission of Burma 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 funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Das Ding,
Babytalk,
It's A Beautiful Day,
The Martian,
The Selecter,
Eurythmics,
Icehouse,
Brothers Johnson,
Main Source,
Rotary Connection,
Glenn Branca,
The Beau Brummels,
The Techniques,
Aaron Thompson,
Unrelated Segments,
The Dead C,
Massinfluence,
New York Dolls,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Hoover,
Shoche,
Bobbi Humphrey,
Radio Birdman,
Nico,
the Fania All-Stars,
Traffic Nightmare,
Lonnie Liston Smith,
Nils Olav,
Gary Puckett & The Union Gap,
Minny Pops,
Jawbox,
Scion,
The Pop Group,
T.S.O.L.,
June Days,
Ultra Naté,
David Axelrod,
Tubeway Army,
Joe Smooth,
Idris Muhammad,
Underground Resistance,
Bootsy Collins,
Archie Shepp,
Lightning Bolt,
Zapp,
Television Personalities,
Harpers Bizarre,
Bill Near,
Terry Callier,
The Human League,
Kenny Larkin,
Lungfish,
Scott Walker,
The Chocolate Watch Band,
Super Lover Cee & Casanova Rud,
The Grass Roots,
London Community Gospel Choir,
The Modern Lovers,
Harmonia,
The Monks, The Monks, The Monks, The Monks.
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.