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 Bhutan and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 linndrum 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 Radiopuhelimet to the punk kids.
I played it at the Crocodile.
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 KRS-One. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every The Gories 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Captain Beefheart & His Magic Band,
In Retrospect,
Jeff Mills,
Fela Kuti,
Arab on Radar,
Joe Finger,
Hoover,
Oneida,
Faraquet,
Young Marble Giants,
Todd Terry,
Lou Reed & John Cale,
Grandmaster Flash,
Fad Gadget,
Popol Vuh,
La Düsseldorf,
Bronski Beat,
Lyres,
Albert Ayler,
Thee Headcoats,
Cybotron,
Essential Logic,
Kaleidoscope,
The Grass Roots,
Banda Bassotti,
The Smiths,
Slave,
Ohio Players,
Buzzcocks,
Inner City,
Super Lover Cee & Casanova Rud,
Pulsallama,
Guru Guru,
Skriet,
Howard Jones,
Los Fastidios,
The Fortunes,
Pharoah Sanders,
Pete Rock & C.L. Smooth,
Al Stewart,
The Mojo Men,
Tom Boy,
Idris Muhammad,
Vainqueur,
Eyeless In Gaza,
Lalo Schifrin,
Amon Düül II,
Dennis Brown,
Siglo XX,
Neu!,
Au Pairs,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Funky Four + One,
Nation of Ulysses,
The Sisters of Mercy,
Underground Resistance,
Eddi Front,
Marmalade, Marmalade, Marmalade, Marmalade.
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.