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 Russia and from Delhi.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1964 to 1973.
I'm losing my edge.
To all the kids in Calgary and Stockholm.
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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Ornette Coleman to the grime 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 Chrome. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
the Germs,
Niagra,
Electric Light Orchestra,
The Dave Clark Five,
Ultravox,
Amon Düül,
Rod Modell,
Terry Callier,
Oneida,
The Leaves,
A Certain Ratio,
Kurtis Blow,
The Divine Comedy,
Letta Mbulu,
Joyce Sims,
Jeru the Damaja,
DNA,
Andrew Ashong & Theo Parrish,
Dark Day,
The Cowsills,
David McCallum,
Kool Moe Dee,
Black Bananas,
Judy Mowatt,
Pantytec,
Harmonia,
PIL,
Severed Heads,
Thompson Twins,
The Zeros,
Skarface,
FM Einheit,
Dennis Brown,
Crash Course in Science,
E-Dancer,
Girls At Our Best!,
The Men They Couldn't Hang,
Ultramagnetic MC's,
Notorious BIG live in Amsterdam,
Stiv Bators,
Lonnie Liston Smith,
Eyeless In Gaza,
Eric B and Rakim,
Electric Prunes,
Jesper Dahlbäck,
Stetsasonic,
The Smiths,
Spoonie Gee,
Yaz,
Be Bop Deluxe,
B.T. Express,
Gil Scott Heron,
Cameo,
Deutsch Amerikanische Freundschaft,
David Axelrod,
Fifty Foot Hose,
Fort Wilson Riot,
Marshall Jefferson,
Bad Manners,
Ronan,
Moss Icon,
Nation of Ulysses,
Blossom Toes,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.