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 Colombia and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television 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 1968 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Accra.
I'm losing my edge to the art-school Spokane 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Con Funk Shun to the jazz kids.
I played it at the 40 Watt.
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 Agent Orange tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Interpol,
Tres Demented,
Chris Corsano,
Eli Mardock,
Alton Ellis,
Man Parrish,
Y Pants,
David Axelrod,
Jesper Dahlbäck,
L. Decosne,
T.S.O.L.,
Dark Day,
Morten Harket,
The Slits,
The Golliwogs,
Pet Shop Boys,
Terrestrial Tones,
ABBA,
Amon Düül II,
Lou Reed & Metallica,
Kauko Röyhkä ja Narttu,
Rites of Spring,
Youth Brigade,
The Blackbyrds,
Delta 5,
Magazine,
Letta Mbulu,
Marc Romboy vs. Booka Shade,
Funkadelic,
Sex Pistols,
Dawn Penn,
UT,
Matthew Halsall,
Soul II Soul,
The Remains,
Lungfish,
Zero Boys,
Lindisfarne,
the Association,
Andrew Hill,
Robert Hood,
Hardrive,
Oppenheimer Analysis,
The Grass Roots,
Index,
June Days,
Gang Gang Dance,
Metal Thangz,
Buzzcocks,
Pylon,
The Blues Magoos,
Sad Lovers and Giants,
Flamin' Groovies,
the Bar-Kays,
Skriet,
The American Breed,
Quantec,
Gabor Szabo,
Grandmaster Flash,
Rod Modell,
Johnny Osbourne,
Masters at Work,
Faraquet,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.