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 Mexico and from Philadelphia.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Bremen.
I'm losing my edge to the art-school Columbus 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 clarinet 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 Gang Starr to the grunge kids.
I played it at the Spitz.
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 The Cosmic Jokers. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
In Retrospect,
Alison Limerick,
The Move,
The Stooges,
Orchestral Manoeuvres in the Dark,
Public Image Ltd.,
The Blackbyrds,
James Chance & The Contortions,
Monolake,
Tubeway Army,
The Mojo Men,
Lou Christie,
Theoretical Girls,
Deakin,
Morten Harket,
Amon Düül,
The Residents,
Godley & Creme,
Mandrill,
The Cramps,
Man Eating Sloth,
JFA,
Tomorrow,
Deepchord,
The Alarm Clocks,
Royal Trux,
The West Coast Pop Art Experimental Band,
Sixth Finger,
Terror Squad Feat. Camron,
L. Decosne,
Gichy Dan,
Average White Band,
Avey Tare's Slasher Flicks,
The Pretty Things,
Supertramp,
R.M.O.,
Camberwell Now,
Rites of Spring,
Cameo,
Sunsets and Hearts,
Maurizio,
Rahsaan Roland Kirk,
Hoover,
Y Pants,
Terrestrial Tones,
The Golliwogs,
Das Ding,
Eyeless In Gaza,
Davy DMX,
D'Angelo,
Hashim,
Gang Green,
Reuben Wilson,
Red Lorry Yellow Lorry,
Danielle Patucci,
Adolescents,
Ronan,
Pulsallama,
Funky Four + One,
Derrick Morgan,
Louis and Bebe Barron,
The Invisible,
Sad Lovers and Giants,
The Monks, The Monks, The Monks, The Monks.
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.