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 Peru and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1972.
I'm losing my edge.
To all the kids in Houston and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 1975 at the first Ubu practice in a loft in Cleveland.
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 Eurythmics to the dance kids.
I played it at the Crocodile.
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 Barrington Levy. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Jerry's Kids,
Little Man,
Gil Scott-Heron and Jamie xx,
Dawn Penn,
Sound Behaviour,
DJ Style,
Soul II Soul,
Mo-Dettes,
Scratch Acid,
Talk Talk,
FM Einheit,
Kurtis Blow,
Accadde A,
Marshall Jefferson,
Parry Music,
The Misunderstood,
Panda Bear,
Con Funk Shun,
Terrestrial Tones,
Lou Reed & Metallica,
Kayak,
Cal Tjader,
Stereo Dub,
Y Pants,
Bobby Byrd,
Hashim,
The Cramps,
Barry Ungar,
L. Decosne,
Eric Dolphy,
Johnny Osbourne,
Lou Reed & John Cale,
T. Rex,
Notorious Big And Bone Thugs,
The Dead C,
Lightning Bolt,
Jeff Mills,
Deutsch Amerikanische Freundschaft,
ABC,
Kaleidoscope,
The Black Dice,
8 Eyed Spy,
B.T. Express,
The Buckinghams,
Dead Boys,
Peter Gordon & Love of Life Orchestra,
Crispian St. Peters,
Sandy B,
The Beau Brummels,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mission of Burma,
Glambeats Corp.,
Television,
Slave,
Rakim,
Terry Callier,
Laurel Aitken,
The Leaves,
Andrew Hill,
June of 44,
The Saints,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.