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 Monaco and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Salvador 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 organ sounds with much patience.
I was there when Robert Palmer 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 Pete Rock & C.L. Smooth to the techno 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 Blake Baxter. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
The Dave Clark Five,
Agent Orange,
Lou Christie,
Bobby Byrd,
The Flesh Eaters,
Pete Rock & C.L. Smooth,
Fugazi,
Suicide,
the Sonics,
The Men They Couldn't Hang,
Liliput,
Nik Kershaw,
Y Pants,
Kayak,
Amazonics,
Desert Stars,
Trumans Water,
Grauzone,
The Seeds,
The Cosmic Jokers,
World's Most,
The Red Krayola,
Delta 5,
Sällskapet,
Marine Girls,
DNA,
The Blackbyrds,
The Selecter,
Röyhkä ja Rättö ja Lehtisalo,
Flash Fearless,
Frankie Knuckles,
This Heat,
Be Bop Deluxe,
Louis and Bebe Barron,
Ajijia Myrayebe,
Jeff Mills,
Strawberry Alarm Clock,
Little Man,
Lee Hazlewood,
Lightning Bolt,
Quando Quango,
Loose Ends,
The Knickerbockers,
Section 25,
Donny Hathaway,
Jeff Lynne,
Pharaoh Sanders and the Fire Engines,
Sun Ra,
Bad Manners,
the Slits,
Cabaret Voltaire,
Vainqueur,
The Five Americans,
Popol Vuh,
Von Mondo,
The Wake,
Thompson Twins,
Hashim,
Lou Reed & Metallica,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.