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 Guinea-Bissau and from Glasgow.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 Mistral practice in a loft in Amsterdam.
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 Derrick Morgan to the disco kids.
I played it at the Hacienda.
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 Television Personalities. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
The Young Rascals,
Make Up,
Be Bop Deluxe,
Aaron Thompson,
Nick Fraelich,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Donald Byrd,
The Moleskins,
Idris Muhammad,
Zapp,
Joensuu 1685,
Rod Modell,
Cheater Slicks,
Ash Ra Tempel,
Heaven 17,
Sonic Youth,
Severed Heads,
Andrew Hill,
Ten City,
Skaos,
Warren Ellis,
This Heat,
New Age Steppers,
Arcadia,
David Axelrod,
Mo-Dettes,
Davy DMX,
Scion,
Jawbox,
Eric B and Rakim,
Sun City Girls,
The Monochrome Set,
Susan Cadogan,
The Skatalites,
Bad Manners,
The Zeros,
Marmalade,
Derrick May,
Arthur Verocai,
Japan,
Ken Boothe,
Thompson Twins,
Scott Walker,
the Bar-Kays,
Spoonie Gee,
Hoover,
Joyce Sims,
Fluxion,
Crooked Eye,
The Cowsills,
Delon & Dalcan,
World's Most,
Hot Snakes,
Johnny Clarke,
Wighnomy Brothers & Robag Wruhme,
B.T. Express,
PIL,
Amazonics,
Jeff Mills,
John Foxx,
The Blues Magoos,
Ultra Naté,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.