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 Portugal and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Portland and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 808 sounds with much patience.
I was there when Donald Fagen 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 grunge 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 Pharoah Sanders. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
The Associates,
John Cale,
Black Sheep,
Oppenheimer Analysis,
Sunsets and Hearts,
The Mighty Diamonds,
Desert Stars,
Depeche Mode,
Brass Construction,
Robert Görl,
Bobby Sherman,
The Walker Brothers,
Strawberry Alarm Clock,
The Human League,
Lower 48,
Fad Gadget,
Little Man,
Television,
Marvin Gaye,
The Index,
The Motions,
Ludus,
Fort Wilson Riot,
The Knickerbockers,
Ken Boothe,
Bootsy Collins,
Dark Day,
Davy DMX,
Skarface,
The Slits,
Ossler,
Prince Buster,
The Last Poets,
Spoonie Gee,
The Monochrome Set,
Marcia Griffiths,
The Toasters,
Sam Rivers,
Nik Kershaw,
Liaisons Dangereuses,
AZ,
The Peanut Butter Conspiracy,
Graham Central Station,
Orchestral Manoeuvres in the Dark,
James Chance & The Contortions,
8 Eyed Spy,
Nico,
Throbbing Gristle,
Reagan Youth,
Severed Heads,
Eric B and Rakim,
Pharaoh Sanders and the Fire Engines,
Big Daddy Kane,
The Leaves,
Gong,
The Residents,
Icehouse,
The Moleskins,
Notorious BIG live in Amsterdam,
Sexual Harrassment,
Don Cherry,
Y Pants, Y Pants, Y Pants, Y Pants.
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.