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 San Marino and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Taipei 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Sister Nancy to the electroclash kids.
I played it at the Astoria.
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 Rufus Thomas. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Saccharine Trust 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
UT,
Underground Resistance,
Schoolly D,
Grandmaster Flash,
Tears for Fears,
Technova,
Franke,
Moby Grape,
Metal Thangz,
Blossom Toes,
ABC,
The Fall,
The Chocolate Watch Band,
The Litter,
Cluster,
the Soft Cell,
Thee Headcoats,
Peter and Kerry,
LL Cool J,
The Gun Club,
Neu!,
Electric Light Orchestra,
Rahsaan Roland Kirk,
Barclay James Harvest,
Pole,
Avey Tare & Kría Brekkan,
Shoche,
Black Moon,
The Golliwogs,
This Heat,
The Residents,
Nils Olav,
The Zeros,
Boredoms,
U.S. Maple,
Albert Ayler,
Gang of Four,
Crash Course in Science,
DeepChord presents Echospace,
The Count Five,
Byron Stingily,
Ajijia Myrayebe,
Black Bananas,
Lalann,
Frankie Knuckles,
Johnny Clarke,
China Crisis,
Can,
Röyhkä ja Rättö ja Lehtisalo,
Royal Trux,
Visage,
London Community Gospel Choir,
Al Stewart,
Dawn Penn,
Minnie Riperton,
Goldenarms,
Radiopuhelimet,
Swell Maps,
Monolake,
Liaisons Dangereuses,
Art Ensemble Of Chicago,
the Sonics, the Sonics, the Sonics, the Sonics.
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.