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 Bhutan and from Accra.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Bologna.
I'm losing my edge to the art-school Spokane 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 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 Lou Christie to the punk 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 Alton Ellis. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Pierre Henry,
Bad Manners,
Depeche Mode,
R.M.O.,
Crime,
Barclay James Harvest,
Crooked Eye,
It's A Beautiful Day,
Nico,
The Vogues,
Angry Samoans,
The Doobie Brothers,
The West Coast Pop Art Experimental Band,
Gian Franco Pienzio,
Shuggie Otis,
The Stooges,
The Alarm Clocks,
Gang Starr,
Mars,
The Evens,
Lafayette Afro Rock Band,
Rufus Thomas,
Gregory Isaacs,
DeepChord presents Echospace,
The Durutti Column,
Alison Limerick,
Subhumans,
James White and The Blacks,
Deutsch Amerikanische Freundschaft,
Easy Going,
10cc,
Ralphi Rosario,
Gang Gang Dance,
The Sound,
Negative Approach,
Los Fastidios,
D'Angelo,
kango's stein massive,
Soul II Soul,
The Fire Engines,
Saccharine Trust,
Main Source,
Fear,
Deakin,
Quantec,
Crash Course in Science,
Kenny Larkin,
the Normal,
Rahsaan Roland Kirk,
Marine Girls,
The Moleskins,
Soft Machine,
The Techniques,
Graham Central Station,
The Buckinghams,
Guru Guru,
Visionaries,LMNO, T- Love & Iriscience,
The Gap Band,
Lou Reed & John Cale,
X-Ray Spex,
Letta Mbulu,
Eric B and Rakim,
Cheater Slicks, Cheater Slicks, Cheater Slicks, Cheater Slicks.
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.