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 Ecuador and from Manchester.
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 1972.
I'm losing my edge.
To all the kids in Mumbai and Columbus.
I'm losing my edge to the art-school Spokane 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 chamberlin 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 Soulsonic Force to the techno kids.
I played it at the Roxy.
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 The Monks. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Aswad,
Peter & Gordon,
The Fire Engines,
The Modern Lovers,
Orchestral Manoeuvres in the Dark,
Tres Demented,
Buzzcocks,
Andrew Hill,
Minutemen,
Jacob Miller,
The Victims,
Alison Limerick,
John Lydon,
Radio Birdman,
Red Lorry Yellow Lorry,
Tears for Fears,
Robert Görl,
MDC,
Smog,
Talk Talk,
The West Coast Pop Art Experimental Band,
In Retrospect,
Skaos,
Au Pairs,
Nick Cave & The Bad Seeds,
Andrew Ashong & Theo Parrish,
Surgeon,
Mark Hollis,
Brothers Johnson,
Hot Snakes,
Grey Daturas,
Kool G Rap & DJ Polo,
Lou Reed & John Cale,
Throbbing Gristle,
John Cale,
kango's stein massive,
X-101,
UT,
Monks,
The Black Dice,
Eurythmics,
The Dave Clark Five,
Jeff Lynne,
Gerry Rafferty,
D'Angelo,
London Community Gospel Choir,
Bluetip,
World's Most,
Erykah Badu,
Neil Young & Crazy Horse,
Joensuu 1685,
Outsiders,
Wire,
Matthew Halsall,
F. McDonald,
Kevin Saunderson,
PIL,
Angels of Light & Akron/Family,
Average White Band,
Siouxsie and the Banshees,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.