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 Italy and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Calgary and Mexico City.
I'm losing my edge to the art-school Accra 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 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 a-ha to the punk 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 Piero Umiliani. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Maurizio,
Masters at Work,
Todd Terry,
The Names,
The West Coast Pop Art Experimental Band,
Jawbox,
Dual Sessions,
Lindisfarne,
Slave,
The Five Americans,
Theoretical Girls,
Joensuu 1685,
The Shadows of Knight,
Chris Corsano,
Anakelly,
Electric Light Orchestra,
Little Man,
Quando Quango,
Das Ding,
Delon & Dalcan,
Justin Hinds & The Dominoes,
Nils Olav,
LL Cool J,
The Red Krayola,
Girls At Our Best!,
Gil Scott-Heron & Brian Jackson,
Television,
The Monochrome Set,
Gian Franco Pienzio,
Vainqueur,
Minnie Riperton,
Soft Cell,
Porter Ricks,
The Fire Engines,
X-101,
The Dead C,
Lucky Dragons,
This Heat,
Visage,
Mo-Dettes,
Althea and Donna,
Gerry Rafferty,
48th St. Collective,
Icehouse,
Siglo XX,
Khruangbin,
Con Funk Shun,
Trumans Water,
Massinfluence,
Excepter,
John Cale,
Boz Scaggs,
Make Up,
De La Soul & Jungle Brothers,
Boogie Down Productions,
The Skatalites,
The Durutti Column,
Severed Heads,
Robert Görl,
Bob Dylan,
Skriet, Skriet, Skriet, Skriet.
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.