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 Montenegro and from Calgary.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Manchester 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Harpers Bizarre to the rock kids.
I played it at Trash.
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 Technova. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Youth Brigade,
Rotary Connection,
Sad Lovers and Giants,
Sixth Finger,
Larry & the Blue Notes,
The Vogues,
Ash Ra Tempel,
Roy Ayers,
Eric Dolphy,
Nation of Ulysses,
The Gun Club,
Gregory Isaacs,
Pulsallama,
The Tremeloes,
The Human League,
Silicon Teens,
Aural Exciters,
Al Stewart,
The Stooges,
New Age Steppers,
Crime,
The Evens,
Oppenheimer Analysis,
New York Dolls,
Girls At Our Best!,
Lizzy Mercier Descloux,
Graham Central Station,
Orchestral Manoeuvres in the Dark,
the Slits,
Das Ding,
Delta 5,
Peter & Gordon,
Barbara Tucker,
Eden Ahbez,
Kool Moe Dee,
Jesper Dahlbäck,
The Mojo Men,
Whodini,
Slick Rick,
Sugar Minott,
Roger Hodgson,
Nils Olav,
Skarface,
Bootsy Collins,
Jesper Dahlback,
Stereo Dub,
The Count Five,
Depeche Mode,
Steve Hackett,
Chris Corsano,
Heaven 17,
Cluster,
Max Romeo,
Marc Almond,
Richard Hell and the Voidoids,
Vaughan Mason & Crew,
Andrew Hill,
Mr. Review,
Yazoo,
The Mummies, The Mummies, The Mummies, The Mummies.
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.