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 Serbia and from Portland.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Mexico City 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 harpsichord 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 Urselle to the rap kids.
I played it at Trash.
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 Siglo XX. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Mad Mike,
The Doors,
Agitation Free,
John Coltrane,
The Chocolate Watch Band,
The Electric Prunes,
Wire,
Nik Kershaw,
New Age Steppers,
Country Teasers,
Throbbing Gristle,
The Real Kids,
The West Coast Pop Art Experimental Band,
Shuggie Otis,
The Litter,
Brick,
Sticky Fingaz feat. Raekwon,
Sly & The Family Stone,
The Offenders,
Underground Resistance,
Grandmaster Flash and the Furious Five,
Lalo Schifrin,
Pierre Henry,
Mary Jane Girls,
Absolute Body Control,
Nas,
Dennis Brown,
Roy Ayers,
Bang On A Can,
The Birthday Party,
Banda Bassotti,
Urselle,
Bizarre Inc.,
Darondo,
Rapeman,
New Order,
Camberwell Now,
Black Sheep,
Matthew Halsall,
FM Einheit,
Motorama,
Ultramagnetic MC's,
Fad Gadget,
Pete Rock & C.L. Smooth,
Donald Byrd,
Gang Green,
Patti Smith,
Al Stewart,
Grauzone,
Pagans,
DNA,
Stetsasonic,
Sunsets and Hearts,
Ultravox,
Lower 48,
Half Japanese,
Vladislav Delay,
Model 500,
Sparks,
Quadrant,
The Stooges, The Stooges, The Stooges, The Stooges.
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.