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 Estonia and from Portland.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
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 Curtis Mayfield to the crunk kids.
I played it at the Spitz.
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 X-Ray Spex. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Schoolly D,
Whodini,
Urselle,
Cecil Taylor,
Be Bop Deluxe,
Lizzy Mercier Descloux,
Funkadelic,
Angry Samoans,
FM Einheit,
Crooked Eye,
Toni Rubio,
E-Dancer,
Neil Young,
Lalann,
Little Man,
Beasts of Bourbon,
Art Ensemble Of Chicago,
Stetsasonic,
Yaz,
Pylon,
Scion,
The Five Americans,
Silicon Teens,
The Fire Engines,
Soul Sonic Force,
Underground Resistance,
Echo & the Bunnymen,
Jeff Lynne,
Joyce Sims,
The Skatalites,
The Grass Roots,
H. Thieme,
Rhythm & Sound,
Grandmaster Flash,
Red Lorry Yellow Lorry,
The Dirtbombs,
Gang Gang Dance,
Aloha Tigers,
The Alarm Clocks,
Crime,
The Stooges,
Q and Not U,
Buzzcocks,
Minutemen,
Jesper Dahlback,
Leonard Cohen,
John Holt,
Crash Course in Science,
Make Up,
Gabor Szabo,
Kool Moe Dee,
Peter and Kerry,
Donald Byrd,
Robert Wyatt,
Niagra,
Lungfish,
The Gap Band,
Sex Pistols,
Mo-Dettes,
Fat Boys,
The Martian,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.