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 Macedonia and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Lyon and Toronto.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Danielle Patucci to the techno kids.
I played it at the Roxy.
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 Dead Boys. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal grime 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
The American Breed,
Jawbox,
Marcia Griffiths,
Eve St. Jones,
Davy DMX,
Matthew Bourne,
Urselle,
Notorious BIG live in Amsterdam,
Barbara Tucker,
Cecil Taylor,
Gil Scott-Heron & Brian Jackson,
Stockholm Monsters,
Morten Harket,
Sixth Finger,
Swans,
Joyce Sims,
Faraquet,
Clear Light,
Jacques Brel,
Barry Ungar,
Radiopuhelimet,
Johnny Clarke,
Motorama,
Kango’s Stein Massive,
The New Christs,
Brothers Johnson,
Maurizio,
Rod Modell,
Hardrive,
the Normal,
Tears for Fears,
Drexciya,
Roy Ayers,
Bronski Beat,
Slick Rick,
K-Klass,
Bauhaus,
Röyhkä ja Rättö ja Lehtisalo,
Ludus,
Moby Grape,
Freddie Wadling,
The Mighty Diamonds,
Avey Tare,
Beasts of Bourbon,
Technova,
Max Romeo,
The Kinks,
Lafayette Afro Rock Band,
Stereo Dub,
The Gladiators,
FM Einheit,
Zero Boys,
the Sonics,
Deepchord,
Deutsch Amerikanische Freundschaft,
Television,
Sonny Sharrock,
The Skatalites,
Index,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.