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 Moldova and from Salvador.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Halifax and Philadelphia.
I'm losing my edge to the art-school Toronto 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 The Remains to the dance kids.
I played it at the 40 Watt.
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 Y Pants. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Art Ensemble Of Chicago,
Colin Newman,
Kerrie Biddell,
Camouflage,
The Neon Judgement,
Janne Schatter,
Bad Manners,
Danielle Patucci,
Jeff Mills,
48th St. Collective,
Depeche Mode,
Sex Pistols,
Josef K,
Roxy Music,
The Gories,
The Sisters of Mercy,
Interpol,
Sällskapet,
The Motions,
The Sound,
Mo-Dettes,
Simply Red,
Erasure,
Quadrant,
Procol Harum,
Bootsy's Rubber Band,
The Royal Family And The Poor,
The New Christs,
Arab on Radar,
Sandy B,
Ornette Coleman,
Lungfish,
Chrome,
Leonard Cohen,
Wings,
Boredoms,
Roxette,
Scrapy,
Terrestrial Tones,
The Zeros,
De La Soul & Jungle Brothers,
The Mighty Diamonds,
Röyhkä ja Rättö ja Lehtisalo,
Radiohead,
Bootsy Collins,
Pere Ubu,
Bang on a Can All-Stars,
The Doobie Brothers,
Blancmange,
Red Lorry Yellow Lorry,
PIL,
Q and Not U,
John Coltrane,
Yaz,
Marine Girls,
Juan Atkins,
Be Bop Deluxe,
Lizzy Mercier Descloux,
Charles Mingus,
Absolute Body Control,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.