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 Honduras and from Toronto.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1970.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Cairo 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 808 sounds with much patience.
I was there when Lou Reed 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 Camron Feat. Memphis Bleek And Beenie Seigel to the disco kids.
I played it at the Crocodile.
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 Patti Smith. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
A Flock of Seagulls,
Skriet,
Bauhaus,
Dorothy Ashby,
Swell Maps,
Janne Schatter,
June Days,
The Black Dice,
The Jesus and Mary Chain,
Lonnie Liston Smith,
Davy DMX,
Vladislav Delay,
The Dead C,
The Red Krayola,
Swans,
Barbara Tucker,
Hoover,
Motorama,
Sällskapet,
Amon Düül II,
The Remains,
Glenn Branca,
The Sisters of Mercy,
Marc Almond,
Scion,
Pole,
Mars,
Malaria!,
Erykah Badu,
The Index,
The Durutti Column,
Donny Hathaway,
Banda Bassotti,
Fifty Foot Hose,
Schoolly D,
The Mojo Men,
Q and Not U,
Radio Birdman,
Joyce Sims,
The Fire Engines,
Donald Byrd,
Section 25,
China Crisis,
Jawbox,
Roxette,
Zapp,
a-ha,
Dual Sessions,
Robert Hood,
Notorious Big And Bone Thugs,
Magma,
Marvin Gaye,
Traffic Nightmare,
Jerry Gold Smith,
Das Ding,
Justin Hinds & The Dominoes,
Crash Course in Science,
Ornette Coleman,
Easy Going,
Girls At Our Best!,
Orchestral Manoeuvres in the Dark,
The Victims, The Victims, The Victims, The Victims.
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.