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 Saudi Arabia and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school London 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 Sight & Sound to the jazz kids.
I played it at the Astoria.
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 Funky Four + One. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Lalo Schifrin 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
The Gun Club,
The Sound,
Marcia Griffiths,
Kerri Chandler,
The Seeds,
Marc Romboy vs. Booka Shade,
Stereo Dub,
Heavy D & The Boyz,
The Busters,
Blake Baxter,
The Human League,
Tears for Fears,
Massinfluence,
Eric Copeland,
K-Klass,
Agent Orange,
John Coltrane,
Minutemen,
LL Cool J,
The United States of America,
Franke,
DNA,
The Index,
Ituana,
Little Man,
Tubeway Army,
Circle Jerks,
Mary Jane Girls,
the Human League,
James Chance & The Contortions,
the Soft Cell,
Aloha Tigers,
kango's stein massive,
Rod Modell,
The Dirtbombs,
Bill Near,
Oneida,
Danielle Patucci,
Kings Of Tomorrow,
Sunsets and Hearts,
Pharaoh Sanders and the Fire Engines,
The Men They Couldn't Hang,
Neil Young & Crazy Horse,
Donny Hathaway,
Godley & Creme,
Vaughan Mason & Crew,
Masters at Work,
The West Coast Pop Art Experimental Band,
Loose Ends,
X-102,
The Misunderstood,
Skaos,
Cymande,
Man Parrish,
Art Ensemble Of Chicago,
The Residents,
Gerry Rafferty,
D'Angelo,
Amon Düül II,
Tropical Tobacco,
Chris & Cosey,
AZ, AZ, AZ, AZ.
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.