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 Liechtenstein and from Calgary.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Bremen 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Scratch Acid to the punk 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 Theoretical Girls. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Eli Mardock 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your guitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Pharoah Sanders,
Frankie Knuckles,
The Grass Roots,
The Durutti Column,
The Golliwogs,
Josef K,
Kool Moe Dee,
Mars,
John Coltrane,
Radio Birdman,
Röyhkä ja Rättö ja Lehtisalo,
Letta Mbulu,
The Gories,
Rites of Spring,
The New Christs,
Yusef Lateef,
Soft Machine,
The Electric Prunes,
The United States of America,
Rapeman,
Gabor Szabo,
Black Sheep,
The Leaves,
Oppenheimer Analysis,
the Normal,
Yazoo,
The Cowsills,
The Fire Engines,
Art Ensemble Of Chicago,
The Birthday Party,
Grandmaster Flash and the Furious Five,
Arcadia,
Byron Stingily,
The Techniques,
Country Joe & The Fish,
Sugar Minott,
Matthew Bourne,
The Motions,
Roxette,
Be Bop Deluxe,
Young Marble Giants,
10cc,
The Offenders,
FM Einheit,
Piero Umiliani,
The Raincoats,
The Alarm Clocks,
Soulsonic Force,
Slave,
Bizarre Inc.,
The Names,
Marmalade,
X-101,
Robert Hood,
The Music Machine,
Mission of Burma,
Gian Franco Pienzio,
Lizzy Mercier Descloux,
World's Most,
Boredoms,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.