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 Panama 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 1968 to 1977.
I'm losing my edge.
To all the kids in Lyon and Tehran.
I'm losing my edge to the art-school Beijing 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Black Sheep to the dance 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 Pylon. All the underground hits.
All Sticky Fingaz feat. Raekwon tracks. I heard you have a vinyl of every CMW 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
K-Klass,
Maurizio,
Man Eating Sloth,
Terrestrial Tones,
Parry Music,
Scion,
Faraquet,
kango's stein massive,
Joensuu 1685,
New York Dolls,
Kurtis Blow,
Yellowson,
Fluxion,
Moss Icon,
Suicide,
Audionom,
Oblivians,
Beasts of Bourbon,
Sun Ra Arkestra,
The Index,
Lucky Dragons,
Pagans,
Second Layer,
The Cure,
Rhythim Is Rhythim,
Boz Scaggs,
Deadbeat,
Ponytail,
Sparks,
Livin' Joy,
Lee Hazlewood,
Pulsallama,
The Associates,
Roxy Music,
Grauzone,
Tropical Tobacco,
DJ Style,
Joe Finger,
Sly & The Family Stone,
Bluetip,
Lou Reed & John Cale,
Skarface,
Whodini,
Sister Nancy,
Franke,
the Fania All-Stars,
the Association,
The Standells,
Zapp,
Delon & Dalcan,
Goldenarms,
The Star Department,
Lonnie Liston Smith,
Tres Demented,
Boogie Down Productions,
The Pop Group,
The Fugs,
Inner City,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.