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 Seychelles and from Lyon.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Madrid and Taipei.
I'm losing my edge to the art-school Accra 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Anakelly to the funk kids.
I played it at the Astoria.
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 Tres Demented. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters 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?
Magma,
James White and The Blacks,
Lalo Schifrin,
Ten City,
The Neon Judgement,
MDC,
L. Decosne,
Organ,
Lee Hazlewood,
Piero Umiliani,
The Remains,
Rahsaan Roland Kirk,
Sun Ra,
The Black Dice,
Erykah Badu,
Rod Modell,
The Cure,
Minnie Riperton,
The Dead C,
Kevin Saunderson,
Khruangbin,
Michelle Simonal,
Scientists,
Notorious BIG live in Amsterdam,
Quantec,
Bobby Hutcherson,
London Community Gospel Choir,
UT,
Warsaw,
Bill Near,
Scrapy,
A Certain Ratio,
Kaleidoscope,
Gong,
Procol Harum,
Avey Tare & Kría Brekkan,
Yaz,
Fat Boys,
The Modern Lovers,
Ludus,
The Electric Prunes,
Robert Wyatt,
Andrew Ashong & Theo Parrish,
John Lydon,
The Happenings,
Archie Shepp,
Rosa Yemen,
The Peanut Butter Conspiracy,
Theoretical Girls,
Röyhkä ja Rättö ja Lehtisalo,
Joensuu 1685,
EPMD,
Angels of Light & Akron/Family,
Flipper,
June of 44,
Gang of Four,
The Pop Group,
Soft Machine,
Soft Cell,
Tropical Tobacco,
Matthew Halsall,
Magazine,
Donald Byrd,
The Techniques,
Drexciya, Drexciya, Drexciya, Drexciya.
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.