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 1976.
I was there at the first Chic 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 1966 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
I'm losing my edge to the art-school Stockholm 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Bill Near to the techno kids.
I played it at CBGB's.
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 Urselle. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Sight & Sound 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Boz Scaggs,
X-Ray Spex,
Delta 5,
Yazoo,
The Selecter,
Shuggie Otis,
Pharoah Sanders,
Second Layer,
The Count Five,
Magazine,
The Pop Group,
The Blackbyrds,
ABC,
the Normal,
Roxette,
Chris Corsano,
Erykah Badu,
The Angels of Light,
X-101,
Freddie Wadling,
Slick Rick,
Amazonics,
Youth Brigade,
Sad Lovers and Giants,
Tubeway Army,
Nas,
The Searchers,
DNA,
Masters at Work,
Mandrill,
Steve Hackett,
Jerry's Kids,
Electric Light Orchestra,
Kango’s Stein Massive,
Kenny Larkin,
Ultra Naté,
Public Image Ltd.,
Quantec,
Parry Music,
Jimmy McGriff,
James White and The Blacks,
Big Daddy Kane,
Camouflage,
Bobby Sherman,
Animal Collective,
Piero Umiliani,
Camberwell Now,
Boredoms,
Angels of Light & Akron/Family,
Negative Approach,
Cabaret Voltaire,
Josef K,
Wighnomy Brothers & Robag Wruhme,
Althea and Donna,
The Star Department,
Lee Hazlewood,
Tropical Tobacco,
A Flock of Seagulls,
Soft Machine,
A Certain Ratio,
Ituana,
Bill Wells,
The American Breed,
Liliput, Liliput, Liliput, Liliput.
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.