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 Ghana and from Bologna.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Delhi and Lyon.
I'm losing my edge to the art-school Bologna 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the rhodes 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 Graham Central Station to the grime 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 Second Layer. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Glambeats Corp.,
John Cale,
Los Fastidios,
D'Angelo,
Peter and Kerry,
Black Moon,
Popol Vuh,
Urselle,
FM Einheit,
Ultramagnetic MC's,
Harmonia,
The Alarm Clocks,
Ultimate Spinach,
Lebanon Hanover,
The Grass Roots,
Jeru the Damaja,
Country Teasers,
Royal Trux,
Alison Limerick,
Be Bop Deluxe,
The Sisters of Mercy,
Pet Shop Boys,
Selector Dub Narcotic,
Glenn Branca,
Gang Gang Dance,
Grauzone,
Sight & Sound,
Yellowson,
Terrestrial Tones,
Bad Manners,
Josef K,
Ajijia Myrayebe,
Cymande,
Brothers Johnson,
Pantytec,
Bootsy Collins,
The Knickerbockers,
Fort Wilson Riot,
the Human League,
Vladislav Delay,
Tomorrow,
Livin' Joy,
Bizarre Inc.,
The Kinks,
Fugazi,
Gil Scott-Heron and Jamie xx,
Deadbeat,
Sam Rivers,
Siouxsie and the Banshees,
Rhythm & Sound,
Alton Ellis,
Malaria!,
The Saints,
James White and The Blacks,
The Black Dice,
N.O.R.E. Featuring Pharrell,
Black Flag,
a-ha,
B.T. Express,
Depeche Mode,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.