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 Tanzania and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Beijing and Shanghai.
I'm losing my edge to the art-school Houston 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Flamin' Groovies to the techno kids.
I played it at the Spitz.
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 Agitation Free. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every The Doors 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Joe Smooth,
The Offenders,
Crash Course in Science,
Lou Reed,
Notorious Big And Bone Thugs,
Mo-Dettes,
Gil Scott-Heron and Jamie xx,
Q and Not U,
James Chance & The Contortions,
Ornette Coleman,
Kurtis Blow,
Goldenarms,
Stiv Bators,
Morten Harket,
Matthew Halsall,
Siouxsie and the Banshees,
Kenny Larkin,
The Doors,
AZ,
The Remains,
Altered Images,
Sound Behaviour,
Gary Puckett & The Union Gap,
The West Coast Pop Art Experimental Band,
Justin Hinds & The Dominoes,
Youth Brigade,
Gregory Isaacs,
Faraquet,
Eve St. Jones,
Ohio Players,
The Music Machine,
Groovy Waters,
Oneida,
Slave,
Dave Gahan,
Gil Scott-Heron & Brian Jackson,
Loose Ends,
Al Stewart,
Derrick May,
Eric Dolphy,
Skaos,
Ludus,
H. Thieme,
The Angels of Light,
The Barracudas,
Tubeway Army,
The United States of America,
Marvin Gaye,
Lee Hazlewood,
Second Layer,
Roxette,
Sonny Sharrock,
Suburban Knight,
Magma,
Lou Reed & John Cale,
Delta 5,
Art Ensemble Of Chicago,
Schoolly D,
Iggy Pop,
Bobby Hutcherson,
Motorama,
Bob Dylan,
The Names, The Names, The Names, The Names.
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.