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 Bhutan and from Madrid.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Paris 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 oboe 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 Dennis Brown to the jazz kids.
I played it at the Spitz.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Pierre Henry 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Sam Rivers,
Rod Modell,
Yellowson,
Deadbeat,
LL Cool J,
Henry Cow,
The Knickerbockers,
Desert Stars,
Beasts of Bourbon,
Girls At Our Best!,
Jesper Dahlback,
Major Organ And The Adding Machine,
Darondo,
Arab on Radar,
Scrapy,
Groovy Waters,
Sugar Minott,
The Electric Prunes,
MDC,
Pete Rock & C.L. Smooth,
Pierre Henry,
CMW,
Dave Gahan,
T.S.O.L.,
Black Sheep,
La Düsseldorf,
Pagans,
Unrelated Segments,
10cc,
Hardrive,
Porter Ricks,
Bootsy Collins,
The Doobie Brothers,
Rufus Thomas,
Gil Scott Heron,
Colin Newman,
Larry & the Blue Notes,
Whodini,
Graham Central Station,
Donny Hathaway,
The New Christs,
The Martian,
Sällskapet,
Crime,
Scientists,
Gary Puckett & The Union Gap,
Monolake,
The Misunderstood,
Camron Feat. Memphis Bleek And Beenie Seigel,
Aloha Tigers,
David Axelrod,
Tres Demented,
Basic Channel,
Delon & Dalcan,
Minor Threat,
The Associates,
The Angels of Light,
Ralphi Rosario,
Von Mondo,
Panda Bear,
The Fuzztones,
Ohio Players,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.