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 Egypt and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television 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 1969 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Notorious Big And Bone Thugs to the grunge 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 Quantec. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Pylon,
Black Bananas,
Funkadelic,
The Motions,
the Association,
Visionaries,LMNO, T- Love & Iriscience,
Janne Schatter,
Ralphi Rosario,
Eli Mardock,
Carl Craig,
Jawbox,
Bootsy's Rubber Band,
Colin Newman,
Television Personalities,
Underground Resistance,
The Happenings,
Silicon Teens,
In Retrospect,
The Mummies,
London Community Gospel Choir,
The Gories,
Nico,
Patti Smith,
Pete Rock & C.L. Smooth,
Man Eating Sloth,
U.S. Maple,
Section 25,
Bobby Sherman,
The Mighty Diamonds,
Jacques Brel,
Goldenarms,
Idris Muhammad,
Lizzy Mercier Descloux,
Kango’s Stein Massive,
The Alarm Clocks,
The Birthday Party,
Scratch Acid,
Slave,
Chris Corsano,
Lou Reed & John Cale,
The American Breed,
Siouxsie and the Banshees,
Soft Cell,
New York Dolls,
Groovy Waters,
Kaleidoscope,
Jeru the Damaja,
Al Stewart,
Buzzcocks,
Josef K,
John Coltrane,
The West Coast Pop Art Experimental Band,
Make Up,
Black Sheep,
Chris & Cosey,
Fort Wilson Riot,
Altered Images,
F. McDonald,
Dave Gahan,
Marmalade,
Deakin,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.