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 Uzbekistan and from Milan.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1976.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Jeff Mills to the techno kids.
I played it at the Astoria.
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 Soft Cell. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Sam Rivers,
Au Pairs,
Derrick May,
Royal Trux,
Bill Near,
The Music Machine,
Mandrill,
Anakelly,
Crash Course in Science,
Agent Orange,
Graham Central Station,
Audionom,
Bad Manners,
Captain Beefheart & His Magic Band,
10cc,
Teenage Jesus and the Jerks,
Pagans,
Gastr Del Sol,
Negative Approach,
Tim Buckley,
Terrestrial Tones,
Jeff Lynne,
CMW,
Cybotron,
La Düsseldorf,
The Sisters of Mercy,
The Toasters,
Moby Grape,
Throbbing Gristle,
Pantaleimon,
Roy Ayers Ubiquity,
Max Romeo,
Marvin Gaye,
The Moleskins,
The Last Poets,
Fad Gadget,
The American Breed,
Liaisons Dangereuses,
Brand Nubian,
June of 44,
Pet Shop Boys,
Tomorrow,
Be Bop Deluxe,
Easy Going,
Siouxsie and the Banshees,
R.M.O.,
X-Ray Spex,
The Smiths,
The Fall,
Fifty Foot Hose,
Young Marble Giants,
Slick Rick,
Livin' Joy,
Leonard Cohen,
Donald Byrd,
Absolute Body Control,
Kool G Rap & DJ Polo,
Bobby Byrd,
Alphaville,
Jawbox,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.