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 Kenya and from Lagos.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Houston and Mumbai.
I'm losing my edge to the art-school Paris 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Fania All-Stars to the punk kids.
I played it at CBGB's.
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 Durutti Column. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
ABBA,
The Trojans,
Icehouse,
The Sonics,
Sandy B,
Art Ensemble Of Chicago,
Sad Lovers and Giants,
Robert Görl,
Ajijia Myrayebe,
The Golliwogs,
Duran Duran,
Desert Stars,
The Cure,
Neu!,
Underground Resistance,
Ronan,
Jeru the Damaja,
Cabaret Voltaire,
The Fugs,
DJ Sneak,
Ash Ra Tempel,
Cluster,
Wire,
Los Fastidios,
Sound Behaviour,
Juan Atkins,
Lightning Bolt,
John Coltrane,
Masters at Work,
The Birthday Party,
Bill Near,
The Index,
Harpers Bizarre,
Louis and Bebe Barron,
The Music Machine,
Angry Samoans,
Rod Modell,
Deutsch Amerikanische Freundschaft,
Erasure,
Schoolly D,
Lee Hazlewood,
Bobby Womack,
Orchestral Manoeuvres in the Dark,
Kerri Chandler,
Crash Course in Science,
Von Mondo,
Unrelated Segments,
Kurtis Blow,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Human League,
The Seeds,
Arcadia,
La Düsseldorf,
10cc,
Smog,
Sparks,
A Certain Ratio,
Aloha Tigers,
Byron Stingily,
Jesper Dahlbäck,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.