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 Korea South and from Columbus.
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 1971.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 harpsichord 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 Minor Threat to the jazz 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 The Walker Brothers. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Letta Mbulu,
Marshall Jefferson,
Bizarre Inc.,
Jandek,
The Men They Couldn't Hang,
Mandrill,
Ronan,
Buzzcocks,
Henry Cow,
Audionom,
Bobbi Humphrey,
Cybotron,
AZ,
Glenn Branca,
Barclay James Harvest,
Howard Jones,
Tres Demented,
Minny Pops,
The Knickerbockers,
Red Lorry Yellow Lorry,
Fat Boys,
The Cure,
The Slackers,
Byron Stingily,
Aloha Tigers,
Man Parrish,
Art Ensemble Of Chicago,
Motorama,
D'Angelo,
The Fortunes,
Juan Atkins,
Public Enemy,
Pylon,
Amon Düül,
The Pop Group,
The Smiths,
Vaughan Mason & Crew,
Rod Modell,
Quadrant,
Notorious Big And Bone Thugs,
Röyhkä ja Rättö ja Lehtisalo,
The Names,
Joensuu 1685,
June of 44,
Althea and Donna,
Sam Rivers,
Arab on Radar,
Minutemen,
Das Ding,
Wire,
Ronnie Foster,
The Smoke,
Larry & the Blue Notes,
Lindisfarne,
The Remains,
John Holt,
Eurythmics,
Echospace,
The Kinks,
Minnie Riperton,
The Toasters,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.