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 Belize and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Paris and Lille.
I'm losing my edge to the art-school Sao Paulo 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 sitar 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 Infiniti to the electroclash 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 Marvin Gaye. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Radio Birdman 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 '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Deutsch Amerikanische Freundschaft,
Bang on a Can All-Stars,
Make Up,
Country Joe & The Fish,
Stetsasonic,
AZ,
Niagra,
X-102,
Black Moon,
Angry Samoans,
New Order,
EPMD,
Cameo,
John Coltrane,
Eddi Front,
Don Cherry,
Q and Not U,
DNA,
Wolf Eyes,
Yellowson,
Masters at Work,
Sixth Finger,
Ponytail,
Siouxsie and the Banshees,
Nation of Ulysses,
Eric Copeland,
Pierre Henry,
Cluster,
Saccharine Trust,
Grandmaster Flash and the Furious Five,
Dorothy Ashby,
Ornette Coleman,
Gian Franco Pienzio,
Connie Case,
Vladislav Delay,
Black Sheep,
Wings,
Flash Fearless,
Bobby Byrd,
The J.B.'s,
R.M.O.,
Isaac Hayes,
Royal Trux,
The Skatalites,
Kauko Röyhkä ja Narttu,
Lebanon Hanover,
Eurythmics,
Magma,
Smog,
Danielle Patucci,
Todd Rundgren,
Quantec,
Scion,
The Buckinghams,
Lindisfarne,
The Red Krayola,
The Mighty Diamonds,
Desert Stars,
Big Daddy Kane,
Derrick Morgan,
Boogie Down Productions,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.