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 Tonga and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Bologna.
I'm losing my edge to the art-school Lille 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 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 K-Klass 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 Shoche. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Orchestral Manoeuvres in the Dark,
The Move,
Newcleus,
The Birthday Party,
Larry & the Blue Notes,
The Human League,
Mantronix,
ABC,
The Techniques,
Pharaoh Sanders and the Fire Engines,
Gil Scott-Heron and Jamie xx,
MC5,
Surgeon,
The Walker Brothers,
The Monks,
Janne Schatter,
Ash Ra Tempel,
The Star Department,
Gastr Del Sol,
Siglo XX,
Alice Coltrane,
Hoover,
Half Japanese,
Thee Headcoats,
Faraquet,
Beasts of Bourbon,
London Community Gospel Choir,
Gerry Rafferty,
The Zeros,
Chrome,
Television Personalities,
Lou Reed,
Leonard Cohen,
Cabaret Voltaire,
The Raincoats,
The Music Machine,
Sound Behaviour,
Curtis Mayfield,
The J.B.'s,
Barry Ungar,
Quadrant,
Jesper Dahlback,
Q65,
The Searchers,
Black Sheep,
Simply Red,
Flash Fearless,
Soft Machine,
Jacques Brel,
Marvin Gaye,
Piero Umiliani,
Funkadelic,
Manfred Mann's Earth Band,
Röyhkä ja Rättö ja Lehtisalo,
Barrington Levy,
Brass Construction,
Moby Grape,
Blossom Toes,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.