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 Libya and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
I'm losing my edge to the art-school Bremen 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 synthesizer 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 Bobby Hutcherson to the grunge 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 Warren Ellis. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Brothers Johnson 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 '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman 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?
Black Moon,
Morten Harket,
Rakim,
Erasure,
Subhumans,
Visionaries,LMNO, T- Love & Iriscience,
Clear Light,
James Chance & The Contortions,
Jawbox,
The Smiths,
Warsaw,
Kerrie Biddell,
Swell Maps,
the Slits,
Panda Bear,
A Flock of Seagulls,
The Barracudas,
The Buckinghams,
One Last Wish,
Essential Logic,
Zapp,
Colin Newman,
Ken Boothe,
Ten City,
Eden Ahbez,
Television Personalities,
Simply Red,
Boogie Down Productions,
Monks,
Livin' Joy,
CMW,
Don Cherry,
Marine Girls,
The Fire Engines,
Echo & the Bunnymen,
Avey Tare & Kría Brekkan,
X-Ray Spex,
Chrome,
Sad Lovers and Giants,
Selector Dub Narcotic,
Barclay James Harvest,
Mandrill,
Siouxsie and the Banshees,
The Monks,
Stetsasonic,
World's Most,
Kool Moe Dee,
Lakeside,
Hashim,
The Invisible,
Wasted Youth,
Saccharine Trust,
Idris Muhammad,
Marcia Griffiths,
The Evens,
The Tremeloes,
Freddie Wadling,
Maurizio,
The Slits,
The Misunderstood,
Roy Ayers Ubiquity,
Charles Mingus,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.