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 Madagascar and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Salvador and Seoul.
I'm losing my edge to the art-school Spokane 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 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 Grandmaster Flash and the Furious Five to the electroclash kids.
I played it at the Crocodile.
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 Public Enemy. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal rap 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 snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Man Parrish,
Icehouse,
Thinking Fellers Union Local 282,
Fear,
Black Moon,
Roy Ayers,
Popol Vuh,
Easy Going,
The Moody Blues,
Eve St. Jones,
Skriet,
Buzzcocks,
Negative Approach,
the Association,
Nas,
Peter Gordon & Love of Life Orchestra,
The Fortunes,
The Fall,
Bronski Beat,
Tropical Tobacco,
Robert Hood,
Neil Young & Crazy Horse,
The Cure,
Jawbox,
Silicon Teens,
Byron Stingily,
Ponytail,
Anakelly,
The Move,
Susan Cadogan,
Marshall Jefferson,
The Modern Lovers,
Accadde A,
Toni Rubio,
Boredoms,
Wings,
The Walker Brothers,
Vaughan Mason & Crew,
Das Ding,
Thee Headcoats,
Lyres,
Electric Light Orchestra,
Zero Boys,
New Age Steppers,
Black Flag,
Roxy Music,
Vainqueur,
Mo-Dettes,
John Cale,
Soulsonic Force,
Radiopuhelimet,
Swans,
Sunsets and Hearts,
Interpol,
Joensuu 1685,
James Chance & The Contortions,
Sexual Harrassment,
Curtis Mayfield,
The Dirtbombs,
Mars,
Gang of Four,
Iggy Pop,
Deepchord, Deepchord, Deepchord, Deepchord.
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.