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 Belize 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 1966 to 1970.
I'm losing my edge.
To all the kids in Lille and London.
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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 Q and Not U to the electroclash 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 Sight & Sound. All the underground hits.
All Patti Smith 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 electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Siglo XX,
The Sound,
Basic Channel,
Sam Rivers,
Gichy Dan,
Shoche,
Freddie Wadling,
the Fania All-Stars,
Das Ding,
Camberwell Now,
Simply Red,
Stiv Bators,
Dave Gahan,
Derrick Morgan,
Traffic Nightmare,
Ralphi Rosario,
The Durutti Column,
Flash Fearless,
Smog,
Jeff Lynne,
Country Joe & The Fish,
Kool Moe Dee,
The Sonics,
Bobby Sherman,
The Victims,
Blake Baxter,
Arab on Radar,
Quadrant,
DeepChord presents Echospace,
Jimmy McGriff,
Interpol,
Masters at Work,
The Associates,
Marc Romboy vs. Booka Shade,
Andrew Ashong & Theo Parrish,
Ossler,
Gerry Rafferty,
Tim Buckley,
June Days,
Archie Shepp,
Parry Music,
Delta 5,
Black Sheep,
F. McDonald,
Strawberry Alarm Clock,
KRS-One,
Delon & Dalcan,
Major Organ And The Adding Machine,
The Fortunes,
Hashim,
World's Most,
Sex Pistols,
The Stooges,
The Last Poets,
The Sisters of Mercy,
Deutsch Amerikanische Freundschaft,
These Immortal Souls,
Kurtis Blow,
Deadbeat,
D'Angelo,
Infiniti,
Avey Tare,
Tropical Tobacco,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.