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 Paraguay 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 1960 to 1978.
I'm losing my edge.
To all the kids in London and Bologna.
I'm losing my edge to the art-school New York 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 güiro 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 The Moleskins to the techno kids.
I played it at the Hacienda.
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 Arcadia. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal jazz 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 a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
John Foxx,
Angry Samoans,
Bill Wells,
The Motions,
Eric B and Rakim,
Fela Kuti,
Man Parrish,
Lou Christie,
Dual Sessions,
Charles Mingus,
Peter Gordon & Love of Life Orchestra,
Connie Case,
Quando Quango,
The Monochrome Set,
Anthony Braxton,
Kauko Röyhkä ja Narttu,
Henry Cow,
Spandau Ballet,
The Victims,
T.S.O.L.,
The Real Kids,
The Remains,
Pole,
The Kinks,
Bizarre Inc.,
Talk Talk,
Marmalade,
Popol Vuh,
Kool G Rap & DJ Polo,
Scratch Acid,
EPMD,
Carl Craig,
The Dirtbombs,
CMW,
The Count Five,
Ken Boothe,
Television Personalities,
Bauhaus,
The Cosmic Jokers,
The Blackbyrds,
Jerry's Kids,
The Names,
Sound Behaviour,
Surgeon,
The Fuzztones,
Neil Young,
Soft Machine,
The Fortunes,
Sticky Fingaz feat. Raekwon,
Jeff Mills,
Harpers Bizarre,
Louis and Bebe Barron,
Audionom,
Matthew Bourne,
Sun City Girls,
Avey Tare's Slasher Flicks,
Q65,
Con Funk Shun,
Don Cherry,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.