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 San Marino and from Bremen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 A Flock of Seagulls to the punk kids.
I played it at the Troubador.
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 Dark Day. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Fear 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Basic Channel,
The American Breed,
The Alarm Clocks,
Country Teasers,
Public Image Ltd.,
Joensuu 1685,
Mandrill,
Y Pants,
Zapp,
Television,
Dark Day,
Dead Boys,
Erasure,
Boogie Down Productions,
Darondo,
The Move,
The Five Americans,
Lakeside,
Sex Pistols,
Negative Approach,
Yusef Lateef,
Saccharine Trust,
Babytalk,
T. Rex,
World's Most,
The Doors,
Bizarre Inc.,
Subhumans,
La Düsseldorf,
Isaac Hayes,
The Doobie Brothers,
Faust,
Marmalade,
Reagan Youth,
The Blackbyrds,
Yellowson,
The Dirtbombs,
Public Enemy,
Anakelly,
Sonic Youth,
Nico,
Lou Reed,
James White and The Blacks,
Warsaw,
Second Layer,
the Germs,
Gong,
The Leaves,
The Skatalites,
Toni Rubio,
Dave Gahan,
Derrick May,
Scratch Acid,
Roxette,
The Count Five,
Mad Mike,
Vladislav Delay,
Super Lover Cee & Casanova Rud,
Tom Boy,
Hasil Adkins,
David Bowie,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.