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 Iran and from Accra.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Accra and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 Feelies practice in a loft in Haledon.
I was working on the rhodes 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 Be Bop Deluxe to the crunk 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 Steve Hackett. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Crime 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
The Doors,
Clear Light,
Tubeway Army,
Ludus,
The Electric Prunes,
Danielle Patucci,
Half Japanese,
Minutemen,
Country Joe & The Fish,
Pete Rock & C.L. Smooth,
Young Marble Giants,
The Gladiators,
Juan Atkins,
London Community Gospel Choir,
Tropical Tobacco,
The Slackers,
Desert Stars,
The Music Machine,
Boz Scaggs,
Derrick Morgan,
Derrick May,
Lalo Schifrin,
A Flock of Seagulls,
Inner City,
Spandau Ballet,
Idris Muhammad,
Mars,
Japan,
Lalann,
Big Daddy Kane,
The Star Department,
Neil Young,
Steve Hackett,
Absolute Body Control,
Oneida,
Dead Boys,
The Gap Band,
The Fortunes,
Crash Course in Science,
cv313,
Barrington Levy,
The Names,
Quadrant,
Judy Mowatt,
Das Ding,
Mary Jane Girls,
Swell Maps,
James White and The Blacks,
Brick,
T. Rex,
Sällskapet,
Visage,
Procol Harum,
Interpol,
Albert Ayler,
Johnny Clarke,
DJ Sneak,
Larry & the Blue Notes,
8 Eyed Spy,
R.M.O.,
La Düsseldorf,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.