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 Djibouti and from Cairo.
But I was there.
I was there in 1973.
I was there at the first Television 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 1966 to 1979.
I'm losing my edge.
To all the kids in Columbus and Manchester.
I'm losing my edge to the art-school Woodstock 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 mellotron 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 David Axelrod to the rock kids.
I played it at the Troubador.
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 Gian Franco Pienzio. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every The Dave Clark Five record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus 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?
Nik Kershaw,
Marc Romboy vs. Booka Shade,
Fear,
Smog,
Barclay James Harvest,
Wally Richardson,
Sex Pistols,
The Flesh Eaters,
The Cramps,
Pharoah Sanders,
The Sound,
Dead Boys,
Excepter,
Kauko Röyhkä ja Narttu,
Derrick Morgan,
Bobby Sherman,
Warren Ellis,
Wasted Youth,
Newcleus,
Deepchord,
Marmalade,
Gang Starr,
The West Coast Pop Art Experimental Band,
Marshall Jefferson,
Ronnie Foster,
DJ Style,
Isaac Hayes,
The Wake,
Kings Of Tomorrow,
Von Mondo,
The Dirtbombs,
Albert Ayler,
EPMD,
The Gladiators,
Glenn Branca,
Gastr Del Sol,
Chris & Cosey,
Tom Boy,
Yaz,
The Remains,
New Order,
Terry Callier,
The Real Kids,
Franke,
Nick Cave & The Bad Seeds,
Anakelly,
Ten City,
Pierre Henry,
The New Christs,
Sixth Finger,
Swell Maps,
The Kinks,
The J.B.'s,
Kevin Saunderson,
Half Japanese,
Alton Ellis,
Justin Hinds & The Dominoes,
Symarip,
Lightning Bolt,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.