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 Guatemala and from Bologna.
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 1963 to 1979.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school Milan 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 John Holt to the funk kids.
I played it at the Troubador.
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 Mandrill. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cal Tjader record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Yusef Lateef,
Connie Case,
Japan,
The Shadows of Knight,
Funky Four + One,
Nirvana,
Crooked Eye,
Kool G Rap & DJ Polo,
R.M.O.,
Hardrive,
The Move,
Fugazi,
Gian Franco Pienzio,
Lebanon Hanover,
The Seeds,
Index,
Marc Almond,
Heavy D & The Boyz,
MDC,
The Zeros,
Niagra,
Blossom Toes,
Kenny Larkin,
Piero Umiliani,
the Normal,
Roxy Music,
Interpol,
Wire,
Eric B and Rakim,
Lyres,
Black Pus,
Rahsaan Roland Kirk,
the Slits,
Liliput,
Barbara Tucker,
Erykah Badu,
Dennis Brown,
Kango’s Stein Massive,
Ultravox,
The Happenings,
Girls At Our Best!,
Metal Thangz,
Harpers Bizarre,
Parry Music,
Sly & The Family Stone,
Marine Girls,
Quando Quango,
Urselle,
Wighnomy Brothers & Robag Wruhme,
Amazonics,
Heaven 17,
Electric Prunes,
Flash Fearless,
10cc,
The Jesus and Mary Chain,
The Monochrome Set,
Soulsonic Force,
Unwound,
The Busters,
Albert Ayler,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.