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 Peru and from Portland.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1975.
I'm losing my edge.
To all the kids in Seoul and Bremen.
I'm losing my edge to the art-school Houston 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Eve St. Jones to the electroclash kids.
I played it at the Roxy.
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 Neil Young. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wings,
Gil Scott Heron,
Bronski Beat,
Aloha Tigers,
Dawn Penn,
Desert Stars,
Magazine,
The Pop Group,
ABC,
Lalann,
R.M.O.,
DJ Style,
Art Ensemble Of Chicago,
The Move,
Nils Olav,
Popol Vuh,
Bang On A Can,
Spandau Ballet,
Thompson Twins,
Silicon Teens,
Niagra,
X-102,
the Slits,
Sarah Menescal,
Sparks,
Peter & Gordon,
Lee Hazlewood,
Siouxsie and the Banshees,
Interpol,
Roxette,
Pussy Galore,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ultra Naté,
Ice-T,
The Blackbyrds,
Sight & Sound,
Jerry's Kids,
Röyhkä ja Rättö ja Lehtisalo,
Joey Negro,
Von Mondo,
Zero Boys,
Bob Dylan,
The Young Rascals,
Anthony Braxton,
X-Ray Spex,
Howard Jones,
Avey Tare,
Radio Birdman,
Vainqueur,
Bobbi Humphrey,
Ken Boothe,
Lonnie Liston Smith,
Deadbeat,
Connie Case,
Sister Nancy,
Delta 5,
Country Teasers,
The Five Americans,
The Associates,
Electric Prunes,
Lightning Bolt,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.