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 Trinidad & Tobago and from Manchester.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Bremen.
I'm losing my edge to the art-school Milan 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 David Bowie 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 Rosa Yemen to the crunk kids.
I played it at CBGB's.
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 Groovy Waters. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Cecil Taylor 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Chrome,
a-ha,
Max Romeo,
Skarface,
Fat Boys,
Lalann,
Aural Exciters,
The Fuzztones,
John Foxx,
The Misunderstood,
The Gories,
Adolescents,
The Black Dice,
These Immortal Souls,
John Coltrane,
Brass Construction,
The Detroit Cobras,
Eric Copeland,
Black Moon,
Lee Hazlewood,
Al Stewart,
Technova,
Patti Smith,
Gian Franco Pienzio,
Scion,
Trumans Water,
Michelle Simonal,
Crispy Ambulance,
Sandy B,
Sly & The Family Stone,
Infiniti,
Nick Fraelich,
Siglo XX,
The Residents,
Chris & Cosey,
Deakin,
Grandmaster Flash and the Furious Five,
Dual Sessions,
MDC,
Severed Heads,
Dr. Dre and Snoop Doggy Dog,
The Red Krayola,
Thinking Fellers Union Local 282,
Mo-Dettes,
Pharaoh Sanders and the Fire Engines,
Kas Product,
Wire,
Agent Orange,
Anakelly,
Danielle Patucci,
Outsiders,
The Slits,
Tom Boy,
Unrelated Segments,
Drexciya,
Soul Sonic Force,
Avey Tare,
Andrew Ashong & Theo Parrish,
Bill Near,
the Human League,
Quadrant, Quadrant, Quadrant, Quadrant.
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.