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 Senegal and from London.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Calgary.
I'm losing my edge to the art-school Lille 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 arpeggiator 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 The Electric Prunes to the electroclash 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 Zero Boys. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every The Trojans 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Piero Umiliani,
Spoonie Gee,
Teenage Jesus and the Jerks,
Suicide,
Aaron Thompson,
cv313,
Roxy Music,
Vaughan Mason & Crew,
Larry & the Blue Notes,
The Mighty Diamonds,
The Music Machine,
Cecil Taylor,
Bobby Womack,
The West Coast Pop Art Experimental Band,
The Last Poets,
Slave,
June of 44,
Avey Tare & Kría Brekkan,
T. Rex,
Harmonia,
Von Mondo,
Electric Light Orchestra,
Siglo XX,
David McCallum,
Ash Ra Tempel,
Gary Puckett & The Union Gap,
Angry Samoans,
Funky Four + One,
Frankie Knuckles,
The Pretty Things,
Tears for Fears,
the Soft Cell,
K-Klass,
Lou Christie,
The Smoke,
Massinfluence,
Marmalade,
Josef K,
Surgeon,
Susan Cadogan,
The Happenings,
The Victims,
The Beau Brummels,
Throbbing Gristle,
Slick Rick,
Shoche,
Crime,
John Cale,
Soul Sonic Force,
The United States of America,
Glambeats Corp.,
Monolake,
Fort Wilson Riot,
Dorothy Ashby,
Erykah Badu,
Manfred Mann's Earth Band,
Soul II Soul,
Cymande, Cymande, Cymande, Cymande.
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.