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 Zambia and from Lagos.
But I was there.
I was there in 1973.
I was there at the first Television 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 1962 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
I'm losing my edge to the art-school London 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 clarinet sounds with much patience.
I was there when David Bowie 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 Excepter to the jazz kids.
I played it at the Spitz.
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 Big Daddy Kane. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal funk 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Brass Construction,
Lucky Dragons,
10cc,
Eli Mardock,
the Fania All-Stars,
The Divine Comedy,
Rowland S Howard / Lydia Lunch,
Joyce Sims,
Thompson Twins,
Fear,
Matthew Bourne,
Aural Exciters,
Heavy D & The Boyz,
Ronnie Foster,
Symarip,
The Birthday Party,
The West Coast Pop Art Experimental Band,
Skriet,
Dave Gahan,
Bluetip,
Richard Hell and the Voidoids,
The Beau Brummels,
Avey Tare & Kría Brekkan,
Flipper,
Jeff Lynne,
Drexciya,
Lou Christie,
Los Fastidios,
Glenn Branca,
Glambeats Corp.,
Maurizio,
Archie Shepp,
Fugazi,
Deakin,
Morten Harket,
Toni Rubio,
The J.B.'s,
Oneida,
The Gun Club,
Pere Ubu,
Country Joe & The Fish,
The Sonics,
the Association,
Johnny Clarke,
Dr. Dre and Snoop Doggy Dog,
Massinfluence,
Ohio Players,
Desert Stars,
Fluxion,
Peter & Gordon,
Gang Green,
Throbbing Gristle,
Swell Maps,
Radiohead,
The Seeds,
The Sound,
Big Daddy Kane,
Deepchord,
Art Ensemble Of Chicago,
Joy Division,
Siouxsie and the Banshees,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.