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 Cyprus and from Seoul.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 Goldenarms to the funk kids.
I played it at the Troubador.
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 Slave. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Blake Baxter,
KRS-One,
Lee Hazlewood,
Quadrant,
Lightning Bolt,
Electric Light Orchestra,
Richard Hell and the Voidoids,
Deutsch Amerikanische Freundschaft,
Frankie Knuckles,
Ornette Coleman,
Jandek,
Leonard Cohen,
Bill Wells,
Vaughan Mason & Crew,
Country Joe & The Fish,
Wasted Youth,
Be Bop Deluxe,
Don Cherry,
Gang Starr,
Fugazi,
Aaron Thompson,
Magazine,
Curtis Mayfield,
Lalo Schifrin,
The Walker Brothers,
Yusef Lateef,
Dual Sessions,
Prince Buster,
The Associates,
Arcadia,
David Axelrod,
Minny Pops,
Public Image Ltd.,
Tubeway Army,
Roy Ayers,
Kool G Rap & DJ Polo,
Soul Sonic Force,
Notorious Big And Bone Thugs,
Lindisfarne,
The Smiths,
Brand Nubian,
Television,
Half Japanese,
The Gun Club,
Beasts of Bourbon,
Ajijia Myrayebe,
Andrew Ashong & Theo Parrish,
Gang Green,
E-Dancer,
The Smoke,
The Offenders,
Todd Rundgren,
Jacques Brel,
Masters at Work,
the Swans,
Traffic Nightmare,
The Fortunes,
Alton Ellis,
Peter & Gordon,
Sad Lovers and Giants,
Fear,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.