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 Gambia and from Accra.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Salvador 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 organ 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 The Gap Band to the rock kids.
I played it at the Roxy.
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 Audionom. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every The Fire Engines 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
Sticky Fingaz feat. Raekwon,
Camberwell Now,
Jesper Dahlback,
Louis and Bebe Barron,
These Immortal Souls,
Shoche,
The Divine Comedy,
8 Eyed Spy,
Talk Talk,
Major Organ And The Adding Machine,
Johnny Osbourne,
the Human League,
The Dead C,
K-Klass,
Moby Grape,
Newcleus,
Kings Of Tomorrow,
Eli Mardock,
Rhythm & Sound,
The Pop Group,
X-102,
Rakim,
Funky Four + One,
Yaz,
Qualms,
Swans,
Gary Puckett & The Union Gap,
The Slackers,
The Tremeloes,
Deakin,
Minor Threat,
Bang On A Can,
Drive Like Jehu,
Cluster,
Terror Squad Feat. Camron,
The Misunderstood,
The West Coast Pop Art Experimental Band,
Anthony Braxton,
Whodini,
Erasure,
Arab on Radar,
Dorothy Ashby,
Cabaret Voltaire,
Gang Gang Dance,
Scott Walker,
D'Angelo,
Silicon Teens,
June of 44,
Gregory Isaacs,
Average White Band,
Justin Hinds & The Dominoes,
Matthew Bourne,
Stereo Dub,
The Knickerbockers,
Fifty Foot Hose,
the Normal,
The Chocolate Watch Band,
Tropical Tobacco,
Lalo Schifrin,
The Cowsills,
John Coltrane,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.