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 East Timor and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1979.
I'm losing my edge.
To all the kids in London and Mexico City.
I'm losing my edge to the art-school Mumbai 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 güiro 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 Yusef Lateef to the electroclash kids.
I played it at CBGB's.
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 Nico. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Quando Quango 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Teenage Jesus and the Jerks,
Pierre Henry,
Roger Hodgson,
Traffic Nightmare,
Throbbing Gristle,
Altered Images,
Andrew Hill,
LL Cool J,
Sight & Sound,
MC5,
X-101,
the Association,
Todd Terry,
The Wake,
Rapeman,
Stetsasonic,
the Bar-Kays,
The Selecter,
Graham Central Station,
L. Decosne,
Hoover,
Sun Ra,
New Order,
Section 25,
Avey Tare,
Scientists,
Deadbeat,
The Raincoats,
Orchestral Manoeuvres in the Dark,
James Chance & The Contortions,
Quando Quango,
JFA,
Agent Orange,
Blake Baxter,
Selector Dub Narcotic,
Marc Romboy vs. Booka Shade,
Oppenheimer Analysis,
Fat Boys,
David Axelrod,
The Techniques,
Con Funk Shun,
The Five Americans,
Livin' Joy,
London Community Gospel Choir,
kango's stein massive,
Shoche,
Brothers Johnson,
Brass Construction,
Pere Ubu,
Jimmy McGriff,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Girls At Our Best!,
Big Daddy Kane,
Agitation Free,
Sunsets and Hearts,
The Litter,
Black Bananas,
Alison Limerick,
Dorothy Ashby,
Oblivians,
Accadde A,
Audionom,
the Human League, the Human League, the Human League, the Human League.
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.