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 Morocco and from Sao Paulo.
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 1974.
I'm losing my edge.
To all the kids in Seoul and Seoul.
I'm losing my edge to the art-school Toronto 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 marimba 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 Joyce Sims to the crunk 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 Stiv Bators. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Schoolly D 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 '80s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
The Names,
Arthur Verocai,
T.S.O.L.,
Rosa Yemen,
Gary Puckett & The Union Gap,
The Toasters,
Newcleus,
Richard Hell and the Voidoids,
Au Pairs,
Interpol,
Echo & the Bunnymen,
Heavy D & The Boyz,
Sam Rivers,
John Holt,
Lucky Dragons,
The Flesh Eaters,
Stiv Bators,
Harmonia,
Sex Pistols,
Peter & Gordon,
Kango’s Stein Massive,
Kaleidoscope,
Sun Ra Arkestra,
Eve St. Jones,
Fort Wilson Riot,
Radiopuhelimet,
Japan,
The Selecter,
Harpers Bizarre,
Radiohead,
Robert Hood,
Graham Central Station,
Model 500,
Erasure,
Spandau Ballet,
John Foxx,
The United States of America,
Babytalk,
Duran Duran,
Teenage Jesus and the Jerks,
Altered Images,
Unrelated Segments,
Michelle Simonal,
Los Fastidios,
Cabaret Voltaire,
The Slackers,
Pete Rock & C.L. Smooth,
Kurtis Blow,
Soft Cell,
Nation of Ulysses,
Robert Wyatt,
CMW,
Mr. Review,
Wally Richardson,
Siglo XX,
Albert Ayler,
Marcia Griffiths,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Seeds,
Juan Atkins,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.