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 Comoros and from Manila.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 Lou Reed 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 Danielle Patucci to the funk kids.
I played it at the Hacienda.
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 Peter & Gordon. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
The Alarm Clocks,
Q and Not U,
Big Daddy Kane,
Metal Thangz,
The Busters,
Hasil Adkins,
Idris Muhammad,
Symarip,
The Durutti Column,
Ultra Naté,
Hoover,
Janne Schatter,
The Music Machine,
Ludus,
Fear,
Max Romeo,
Wings,
The Count Five,
Cymande,
Inner City,
Robert Görl,
Mark Hollis,
Loose Ends,
Stiv Bators,
Sandy B,
Sad Lovers and Giants,
June Days,
Electric Prunes,
Bobby Womack,
Bang On A Can,
Bluetip,
Boogie Down Productions,
Camouflage,
Sixth Finger,
Justin Hinds & The Dominoes,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Velvet Underground,
Yaz,
John Holt,
Susan Cadogan,
Selector Dub Narcotic,
EPMD,
Sexual Harrassment,
Neu!,
MDC,
Pylon,
Rites of Spring,
Main Source,
Rufus Thomas,
Intrusion,
Rosa Yemen,
The Fall,
Stockholm Monsters,
Sound Behaviour,
Kool Moe Dee,
Peter Gordon & Love of Life Orchestra,
Marc Almond,
Harry Pussy,
Kerrie Biddell,
The Names,
Wire,
Saccharine Trust,
Erykah Badu, Erykah Badu, Erykah Badu, Erykah Badu.
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.