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 New Zealand and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Tehran and Salvador.
I'm losing my edge to the art-school Tokyo 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 rhodes 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 Bobby Womack to the disco kids.
I played it at Cafe Wha.
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 Heavy D & The Boyz. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Royal Trux,
The Red Krayola,
Marine Girls,
One Last Wish,
Intrusion,
James White and The Blacks,
Panda Bear,
Jeff Mills,
Con Funk Shun,
Ultravox,
Don Cherry,
Kayak,
Main Source,
Gerry Rafferty,
Janne Schatter,
Second Layer,
The Blues Magoos,
Electric Light Orchestra,
Ohio Players,
Moss Icon,
The Knickerbockers,
The Gories,
L. Decosne,
Wings,
Monolake,
The American Breed,
Severed Heads,
The Moleskins,
The Slits,
Aural Exciters,
Bang on a Can All-Stars,
Little Man,
Eve St. Jones,
Infiniti,
Hardrive,
Bush Tetras,
Fifty Foot Hose,
Josef K,
Rufus Thomas,
Kas Product,
Country Teasers,
Gil Scott-Heron & Brian Jackson,
The Chocolate Watch Band,
Althea and Donna,
EPMD,
Pharoah Sanders,
The J.B.'s,
Man Eating Sloth,
Lonnie Liston Smith,
Porter Ricks,
The Men They Couldn't Hang,
The Durutti Column,
Theoretical Girls,
Yusef Lateef,
Bad Manners,
Soul II Soul,
Johnny Clarke,
The Leaves,
Beasts of Bourbon,
Khruangbin,
The Beau Brummels,
Magma,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.