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 Algeria and from Columbus.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lyon and Taipei.
I'm losing my edge to the art-school Manchester 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 Wire practice in a loft in Watford.
I was working on the clarinet 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 Kenny Larkin to the dance kids.
I played it at Trash.
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 Brass Construction. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Pete Rock & C.L. Smooth,
The American Breed,
Ludus,
Swell Maps,
The Names,
Nils Olav,
Letta Mbulu,
Make Up,
Jawbox,
Hoover,
Average White Band,
kango's stein massive,
Alice Coltrane,
Traffic Nightmare,
Excepter,
Panda Bear,
Deakin,
Mark Hollis,
KRS-One,
Nas,
Inner City,
Byron Stingily,
Quantec,
Siouxsie and the Banshees,
Liaisons Dangereuses,
Minny Pops,
Carl Craig,
World's Most,
the Swans,
a-ha,
Fugazi,
The Alarm Clocks,
Absolute Body Control,
David Axelrod,
The Dave Clark Five,
Dave Gahan,
Sun Ra,
The J.B.'s,
Major Organ And The Adding Machine,
Nation of Ulysses,
B.T. Express,
The Stooges,
Joe Smooth,
Skarface,
Public Image Ltd.,
The Index,
Bootsy's Rubber Band,
Avey Tare's Slasher Flicks,
Saccharine Trust,
Deepchord,
New Age Steppers,
Model 500,
Scratch Acid,
Essential Logic,
Neil Young,
Wings,
The Smoke,
the Germs,
Fatback Band,
L. Decosne,
Roxette, Roxette, Roxette, Roxette.
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.