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 Angola and from Salvador.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Houston 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 organ sounds with much patience.
I was there when Robert Palmer 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 Technova 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 Jesper Dahlbäck. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks 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?
Aswad,
Animal Collective,
Amon Düül,
Wire,
Henry Cow,
Fifty Foot Hose,
Tubeway Army,
The Seeds,
Dennis Brown,
The Vogues,
Popol Vuh,
The Gap Band,
Brass Construction,
Heavy D & The Boyz,
Sly & The Family Stone,
Freddie Wadling,
Thompson Twins,
Lower 48,
Arcadia,
The Associates,
Scratch Acid,
Bobby Byrd,
Pagans,
Kool G Rap & DJ Polo,
Simply Red,
Duran Duran,
The Saints,
Rosa Yemen,
the Fania All-Stars,
Terror Squad Feat. Camron,
The Cramps,
Lightning Bolt,
Banda Bassotti,
Liliput,
Sam Rivers,
David McCallum,
Audionom,
The Cowsills,
Youth Brigade,
The Gories,
Altered Images,
Notorious BIG live in Amsterdam,
LL Cool J,
Rakim,
Warsaw,
Roxy Music,
The Electric Prunes,
Todd Rundgren,
Arab on Radar,
Mr. Review,
Crime,
Mo-Dettes,
The Velvet Underground,
Hasil Adkins,
Flamin' Groovies,
World's Most,
Carl Craig,
Model 500,
The Names,
Make Up,
Roxette,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.