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 Honduras and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 Jesper Dahlback to the techno kids.
I played it at the Hacienda.
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 John Holt. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Gian Franco Pienzio 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and an organ and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Todd Terry,
Deadbeat,
The Knickerbockers,
Theoretical Girls,
Eric Dolphy,
Avey Tare & Kría Brekkan,
The Shadows of Knight,
Fluxion,
Marine Girls,
The Star Department,
Aural Exciters,
Mr. Review,
Letta Mbulu,
The Human League,
DNA,
Throbbing Gristle,
Audionom,
The J.B.'s,
Lou Reed & Metallica,
The Leaves,
Rhythm & Sound,
Drexciya,
Sällskapet,
Archie Shepp,
Mad Mike,
Boogie Down Productions,
Surgeon,
Robert Hood,
Gerry Rafferty,
Tommy Roe,
Los Fastidios,
The Beau Brummels,
The Fall,
Bobby Hutcherson,
Second Layer,
Minny Pops,
Donny Hathaway,
the Slits,
James White and The Blacks,
Public Image Ltd.,
Slick Rick,
Cluster,
Make Up,
Inner City,
Funkadelic,
Gregory Isaacs,
The Cowsills,
Ronnie Foster,
The Gun Club,
Monolake,
Steve Hackett,
The Trojans,
Altered Images,
Justin Hinds & The Dominoes,
Gil Scott-Heron and Jamie xx,
Rahsaan Roland Kirk,
Sonic Youth,
Neu!,
Man Eating Sloth,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.