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 India and from Houston.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
I'm losing my edge to the art-school Tehran 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Grandmaster Flash 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 Interpol. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Colin Newman,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Walker Brothers,
Shuggie Otis,
The Human League,
Larry & the Blue Notes,
Crash Course in Science,
Public Enemy,
David McCallum,
Frankie Knuckles,
Sparks,
Camberwell Now,
Ultravox,
The Moleskins,
Thee Headcoats,
Public Image Ltd.,
Newcleus,
Wings,
Lalo Schifrin,
One Last Wish,
Drive Like Jehu,
The Happenings,
Fat Boys,
Todd Terry,
The Fugs,
Maurizio,
Neil Young & Crazy Horse,
Richard Hell and the Voidoids,
Oppenheimer Analysis,
DeepChord presents Echospace,
Vladislav Delay,
Avey Tare & Kría Brekkan,
The Mummies,
Johnny Osbourne,
Sarah Menescal,
Marine Girls,
Juan Atkins,
UT,
The Cowsills,
Sällskapet,
Bush Tetras,
the Human League,
James Chance & The Contortions,
Roger Hodgson,
Fela Kuti,
Gregory Isaacs,
Barbara Tucker,
Icehouse,
Faust,
Soft Machine,
48th St. Collective,
Anakelly,
The Detroit Cobras,
Simply Red,
Ultimate Spinach,
Lee Hazlewood,
Brass Construction,
Lou Reed & John Cale,
Khruangbin,
The Gap Band,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Gil Scott-Heron & Brian Jackson,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.