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 Benin and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Philadelphia 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 808 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 Echo & the Bunnymen to the grunge kids.
I played it at Cafe Wha.
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 Louis and Bebe Barron. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
The New Christs,
Rufus Thomas,
Gian Franco Pienzio,
The Slits,
Kayak,
Youth Brigade,
Fad Gadget,
The Names,
The Five Americans,
Quadrant,
The Dave Clark Five,
Wally Richardson,
Silicon Teens,
Kool G Rap & DJ Polo,
John Holt,
Swell Maps,
Hardrive,
Agent Orange,
E-Dancer,
the Soft Cell,
Junior Murvin,
Dead Boys,
De La Soul & Jungle Brothers,
Juan Atkins,
Byron Stingily,
Roy Ayers,
New Age Steppers,
Animal Collective,
Organ,
Das Ding,
Black Sheep,
Los Fastidios,
Heavy D & The Boyz,
Rowland S Howard / Lydia Lunch,
Fort Wilson Riot,
Charles Mingus,
Nirvana,
Neil Young & Crazy Horse,
Johnny Osbourne,
The Smiths,
Television,
The Gap Band,
The Young Rascals,
Black Pus,
PIL,
Nico,
Brass Construction,
Gong,
Ash Ra Tempel,
Hasil Adkins,
T. Rex,
Kerri Chandler,
Niagra,
Lungfish,
Whodini,
Avey Tare's Slasher Flicks,
Bill Near,
The Knickerbockers,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.