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 Costa Rica and from Philadelphia.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Seoul and Spokane.
I'm losing my edge to the art-school Glasgow 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 oboe 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 The Dead C to the grime kids.
I played it at the 40 Watt.
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 Con Funk Shun. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Big Daddy Kane 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
MDC,
Susan Cadogan,
Dorothy Ashby,
Hot Snakes,
Peter & Gordon,
The Kinks,
The Skatalites,
Neu!,
The Cure,
Ronan,
Yellowson,
Kas Product,
Absolute Body Control,
Parry Music,
Pantytec,
Notorious BIG live in Amsterdam,
Bootsy's Rubber Band,
Alton Ellis,
10cc,
Hardrive,
The Pop Group,
The Moleskins,
The Slits,
The Men They Couldn't Hang,
Thee Headcoats,
Stereo Dub,
Crispy Ambulance,
Ajijia Myrayebe,
Aural Exciters,
Flash Fearless,
Stockholm Monsters,
The Move,
Livin' Joy,
Laurel Aitken,
Terry Callier,
Rod Modell,
Rhythm & Sound,
Silicon Teens,
Youth Brigade,
the Association,
Ralphi Rosario,
The Fire Engines,
Matthew Halsall,
DJ Sneak,
Cecil Taylor,
MC5,
James Chance & The Contortions,
Ronnie Foster,
Mo-Dettes,
Qualms,
Whodini,
Fat Boys,
Zapp,
The Tremeloes,
Spandau Ballet,
The West Coast Pop Art Experimental Band,
Gastr Del Sol,
Soft Machine,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.