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 Korea South and from New York.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Lagos and Bremen.
I'm losing my edge to the art-school Salvador 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 Donald Fagen 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 The Blackbyrds to the jazz 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 Bang on a Can All-Stars. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Erasure 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Eurythmics,
The Durutti Column,
Masters at Work,
Slick Rick,
Rufus Thomas,
Marmalade,
Infiniti,
Toni Rubio,
The New Christs,
The Moody Blues,
The Blackbyrds,
Matthew Halsall,
Reuben Wilson,
Fifty Foot Hose,
Teenage Jesus and the Jerks,
The Slackers,
Unwound,
Man Parrish,
Interpol,
The Saints,
Lyres,
Patti Smith,
Throbbing Gristle,
Camron Feat. Memphis Bleek And Beenie Seigel,
Popol Vuh,
Jeru the Damaja,
Siouxsie and the Banshees,
Model 500,
Ronan,
AZ,
Excepter,
Eyeless In Gaza,
Minnie Riperton,
Soulsonic Force,
Desert Stars,
R.M.O.,
Little Man,
Terror Squad Feat. Camron,
Rhythm & Sound,
Basic Channel,
Cymande,
Harmonia,
The Buckinghams,
Art Ensemble Of Chicago,
Moby Grape,
Ralphi Rosario,
The Happenings,
The Golliwogs,
Sly & The Family Stone,
The Pretty Things,
The Knickerbockers,
Siglo XX,
The Cosmic Jokers,
Au Pairs,
Leonard Cohen,
DNA,
Alice Coltrane,
Rhythim Is Rhythim,
The Techniques,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.