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 Afghanistan and from Beijing.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 1973 at the first Television practice in a loft in New York.
I was working on the organ 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 Lizzy Mercier Descloux to the dance 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 the Slits. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every Dead Boys 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Eric Copeland,
Michelle Simonal,
the Association,
Zero Boys,
Minor Threat,
Siouxsie and the Banshees,
Kings Of Tomorrow,
Organ,
B.T. Express,
John Holt,
UT,
Archie Shepp,
Eli Mardock,
Stetsasonic,
Hashim,
Ronnie Foster,
Bobby Hutcherson,
Pere Ubu,
Fat Boys,
Nick Fraelich,
Eve St. Jones,
Supertramp,
The Motions,
Make Up,
Tom Boy,
Pantaleimon,
World's Most,
Stereo Dub,
Eyeless In Gaza,
Byron Stingily,
Ralphi Rosario,
Grauzone,
Sun Ra Arkestra,
Icehouse,
Royal Trux,
Althea and Donna,
Sam Rivers,
Sight & Sound,
Henry Cow,
Kerri Chandler,
The Zeros,
Khruangbin,
Absolute Body Control,
Scan 7,
Pantytec,
A Certain Ratio,
The Monochrome Set,
Grandmaster Flash and the Furious Five,
Sunsets and Hearts,
Judy Mowatt,
Intrusion,
Barclay James Harvest,
Lou Reed,
Cecil Taylor,
ABBA,
Harry Pussy,
Unrelated Segments,
Rowland S Howard / Lydia Lunch,
Anthony Braxton,
Lucky Dragons,
Mission of Burma,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.