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 Romania and from Lille.
But I was there.
I was there in 1973.
I was there at the first Television 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 Glasgow and Accra.
I'm losing my edge to the art-school Copenhagen 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 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 Ultramagnetic MC's to the punk 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 Porter Ricks. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal funk 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 a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
The Motions,
Connie Case,
Suicide,
Desert Stars,
The Names,
The Barracudas,
the Swans,
Sly & The Family Stone,
Gong,
Wire,
Pantytec,
Soft Machine,
FM Einheit,
Little Man,
Kaleidoscope,
The Durutti Column,
Nation of Ulysses,
The Zeros,
Marshall Jefferson,
Surgeon,
Nik Kershaw,
Nas,
Judy Mowatt,
Rod Modell,
Joensuu 1685,
Lungfish,
Black Moon,
Nick Fraelich,
Bad Manners,
DNA,
Man Eating Sloth,
Oblivians,
Unwound,
Charles Mingus,
Pagans,
Spandau Ballet,
Gary Puckett & The Union Gap,
Country Joe & The Fish,
Can,
Banda Bassotti,
Aural Exciters,
Dorothy Ashby,
Intrusion,
The Gladiators,
Agent Orange,
Throbbing Gristle,
The Leaves,
T. Rex,
Peter and Kerry,
the Soft Cell,
Fat Boys,
Vaughan Mason & Crew,
Lalo Schifrin,
Jeff Lynne,
Neil Young & Crazy Horse,
Crispy Ambulance,
Sex Pistols,
Funkadelic,
Davy DMX,
Angels of Light & Akron/Family,
the Human League,
Arab on Radar,
The Chocolate Watch Band,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.