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 South Sudan and from Tehran.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Hong Kong 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 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 U.S. Maple to the rock kids.
I played it at the 40 Watt.
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 kango's stein massive. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Stiv Bators,
Stockholm Monsters,
James White and The Blacks,
Fifty Foot Hose,
Camouflage,
Jandek,
Warsaw,
Cluster,
Dr. Dre and Snoop Doggy Dog,
Drexciya,
Avey Tare's Slasher Flicks,
The Standells,
Be Bop Deluxe,
The Beau Brummels,
ABC,
Pulsallama,
The Durutti Column,
L. Decosne,
Eden Ahbez,
Fugazi,
Peter and Kerry,
Q and Not U,
Wolf Eyes,
Loose Ends,
Quando Quango,
Audionom,
Lee Hazlewood,
Idris Muhammad,
Bang On A Can,
The Black Dice,
Michelle Simonal,
Silicon Teens,
Sight & Sound,
Electric Prunes,
Art Ensemble Of Chicago,
Harry Pussy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bootsy Collins,
Brick,
Crash Course in Science,
Sugar Minott,
Babytalk,
Manfred Mann's Earth Band,
DJ Sneak,
Pharaoh Sanders and the Fire Engines,
Ohio Players,
Banda Bassotti,
Notorious BIG live in Amsterdam,
Quadrant,
R.M.O.,
Fluxion,
FM Einheit,
Anakelly,
Jerry Gold Smith,
Can,
Arcadia,
Tommy Roe,
Theoretical Girls,
Siglo XX,
John Lydon,
Massinfluence,
Agent Orange,
Excepter, Excepter, Excepter, Excepter.
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.