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 Barbados and from London.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1962 to 1971.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Beijing 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 theremin 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 Stereo Dub to the rock 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 Bobby Womack. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Aaron Thompson,
Siglo XX,
The Seeds,
Byron Stingily,
The Knickerbockers,
Kango’s Stein Massive,
Dr. Dre and Snoop Doggy Dog,
The West Coast Pop Art Experimental Band,
Lee Hazlewood,
Loose Ends,
Kaleidoscope,
The Walker Brothers,
Ten City,
Dorothy Ashby,
Scan 7,
The Jesus and Mary Chain,
Sister Nancy,
Bad Manners,
The Human League,
The Toasters,
Soulsonic Force,
Derrick Morgan,
Pet Shop Boys,
Rhythim Is Rhythim,
Marvin Gaye,
Brass Construction,
Interpol,
John Foxx,
Soft Machine,
Adolescents,
The Stooges,
The Litter,
Dave Gahan,
Jawbox,
Deakin,
Can,
Silicon Teens,
Kool Moe Dee,
Pagans,
The Smoke,
Angry Samoans,
Ultravox,
The Sonics,
Joe Finger,
The Searchers,
The Dead C,
The United States of America,
Sonny Sharrock,
Suburban Knight,
D'Angelo,
Animal Collective,
Motorama,
Deepchord,
Major Organ And The Adding Machine,
Joey Negro,
The Five Americans,
Richard Hell and the Voidoids,
Lou Reed,
James White and The Blacks,
Rufus Thomas,
Nils Olav,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.