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 Nepal 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 1964 to 1979.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
I'm losing my edge to the art-school Portland 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar 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 Barclay James Harvest to the dance kids.
I played it at CBGB's.
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 Mantronix. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
Technova,
X-101,
The Velvet Underground,
Teenage Jesus and the Jerks,
Loose Ends,
The Pretty Things,
Groovy Waters,
Ornette Coleman,
Arthur Verocai,
Magazine,
The Pop Group,
Rhythm & Sound,
Matthew Bourne,
A Certain Ratio,
Urselle,
The Standells,
Interpol,
The Selecter,
Maleditus Sound,
Anthony Braxton,
Stereo Dub,
The Gap Band,
Jesper Dahlback,
Frankie Knuckles,
The Dirtbombs,
Fatback Band,
Bush Tetras,
Colin Newman,
Morten Harket,
Funkadelic,
Crooked Eye,
Kauko Röyhkä ja Narttu,
Andrew Hill,
The Raincoats,
John Lydon,
Stetsasonic,
Donny Hathaway,
Marcia Griffiths,
The Grass Roots,
Neil Young & Crazy Horse,
Yaz,
Blake Baxter,
Barclay James Harvest,
Leonard Cohen,
The Young Rascals,
Electric Light Orchestra,
Sight & Sound,
One Last Wish,
Infiniti,
The Royal Family And The Poor,
Popol Vuh,
Echospace,
Mantronix,
The Leaves,
Agent Orange,
Barrington Levy,
Slick Rick,
Average White Band,
The Zeros,
Donald Byrd,
Jandek,
UT,
EPMD,
The Mummies, The Mummies, The Mummies, The Mummies.
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.