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 Pakistan and from Glasgow.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Lille and Taipei.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Pantytec 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 Alice Coltrane. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every The Pretty Things 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Supertramp,
The Modern Lovers,
Susan Cadogan,
Peter and Kerry,
Red Lorry Yellow Lorry,
Skaos,
Index,
Minny Pops,
Darondo,
DNA,
Eden Ahbez,
the Human League,
Delta 5,
Robert Wyatt,
Peter Gordon & Love of Life Orchestra,
Isaac Hayes,
Scion,
John Foxx,
The Selecter,
The Royal Family And The Poor,
Anthony Braxton,
Maurizio,
The Zeros,
The Stooges,
cv313,
Moebius,
Subhumans,
Johnny Osbourne,
Letta Mbulu,
Soul II Soul,
ABC,
Monks,
Mary Jane Girls,
Make Up,
The New Christs,
Cameo,
The Trojans,
Neu!,
Lafayette Afro Rock Band,
Rites of Spring,
Aswad,
Harpers Bizarre,
Graham Central Station,
Alton Ellis,
Oppenheimer Analysis,
Sarah Menescal,
The Count Five,
New York Dolls,
Technova,
Severed Heads,
Yellowson,
Panda Bear,
The Cure,
The Real Kids,
Captain Beefheart & His Magic Band,
Shoche,
Nas,
Angels of Light & Akron/Family,
The Star Department,
Man Parrish,
D'Angelo,
Barclay James Harvest,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.