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 Tajikistan and from Jakarta.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Houston and Shanghai.
I'm losing my edge to the art-school Manchester 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the guitar 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 Television to the disco 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 D'Angelo. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal dance 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 a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Sarah Menescal,
the Bar-Kays,
Royal Trux,
Bang On A Can,
Blancmange,
Spandau Ballet,
Hashim,
Zapp,
PIL,
Larry & the Blue Notes,
a-ha,
Delon & Dalcan,
Be Bop Deluxe,
Rekid,
E-Dancer,
Eurythmics,
Orchestral Manoeuvres in the Dark,
OOIOO,
Lightning Bolt,
Man Parrish,
Sunsets and Hearts,
Harmonia,
Yellowson,
Audionom,
Bill Near,
Average White Band,
The Seeds,
D'Angelo,
Traffic Nightmare,
Black Pus,
De La Soul & Jungle Brothers,
Andrew Hill,
Roy Ayers Ubiquity,
Man Eating Sloth,
Rod Modell,
Soft Machine,
Pierre Henry,
Jeff Lynne,
Terrestrial Tones,
Black Bananas,
Graham Central Station,
Jeff Mills,
Underground Resistance,
the Soft Cell,
The Cowsills,
Blake Baxter,
Kool Moe Dee,
Sly & The Family Stone,
Clear Light,
The Barracudas,
Los Fastidios,
The New Christs,
Y Pants,
Eric Copeland,
Surgeon,
Grandmaster Flash and the Furious Five,
Joensuu 1685,
John Lydon,
Joe Smooth,
Fat Boys,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.