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 Kyrgyzstan and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Columbus and Spokane.
I'm losing my edge to the art-school Lille 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 harpsichord 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 David McCallum to the disco 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 The Sound. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every E-Dancer 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator 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 arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Essential Logic,
Black Pus,
Hardrive,
Flash Fearless,
Selector Dub Narcotic,
Kurtis Blow,
Sex Pistols,
Soft Cell,
Eden Ahbez,
Rowland S Howard / Lydia Lunch,
The Index,
Avey Tare's Slasher Flicks,
Pere Ubu,
Boogie Down Productions,
The Mummies,
Ossler,
The Beau Brummels,
The Moleskins,
Wighnomy Brothers & Robag Wruhme,
Boredoms,
The Techniques,
Juan Atkins,
Robert Hood,
Pet Shop Boys,
Crispian St. Peters,
Banda Bassotti,
Goldenarms,
Arcadia,
Judy Mowatt,
The Cowsills,
Don Cherry,
The Invisible,
Brick,
Sight & Sound,
David Axelrod,
Visionaries,LMNO, T- Love & Iriscience,
The Sonics,
Metal Thangz,
Barrington Levy,
Gabor Szabo,
Arthur Verocai,
Janne Schatter,
Donny Hathaway,
Jerry's Kids,
Cal Tjader,
Amon Düül,
Livin' Joy,
World's Most,
Heaven 17,
Little Man,
Vladislav Delay,
Dawn Penn,
Saccharine Trust,
Lightning Bolt,
Danielle Patucci,
Audionom,
Basic Channel,
Johnny Osbourne,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.