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 Singapore and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school Portland 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 guitar 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 Mr. Review to the electroclash kids.
I played it at Cafe Wha.
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 Skriet. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Patti Smith record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Stiv Bators,
Heavy D & The Boyz,
F. McDonald,
Amon Düül II,
Ultramagnetic MC's,
Robert Hood,
Camouflage,
Isaac Hayes,
Black Sheep,
Derrick Morgan,
CMW,
Joey Negro,
The Trojans,
Delon & Dalcan,
Organ,
Barclay James Harvest,
This Heat,
Alison Limerick,
Sound Behaviour,
KRS-One,
Aloha Tigers,
Lungfish,
Japan,
It's A Beautiful Day,
Dawn Penn,
Brand Nubian,
Kauko Röyhkä ja Narttu,
The Associates,
The Flesh Eaters,
Pharoah Sanders,
Notorious Big And Bone Thugs,
Kaleidoscope,
Fluxion,
Mantronix,
Throbbing Gristle,
The Happenings,
The American Breed,
Drive Like Jehu,
Stetsasonic,
Mark Hollis,
Jerry Gold Smith,
Desert Stars,
The West Coast Pop Art Experimental Band,
Livin' Joy,
Franke,
Zero Boys,
Thompson Twins,
Man Eating Sloth,
LL Cool J,
Barrington Levy,
Bill Wells,
Lyres,
Scion,
Marshall Jefferson,
The Real Kids,
Ralphi Rosario,
Pagans,
Radio Birdman,
Whodini,
Mary Jane Girls,
World's Most,
John Holt, John Holt, John Holt, John Holt.
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.