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 Ukraine and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Copenhagen and Mumbai.
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 marimba 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 Red Lorry Yellow Lorry to the grunge kids.
I played it at the Astoria.
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 The Star Department. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Qualms,
Arcadia,
Roger Hodgson,
X-Ray Spex,
Interpol,
Idris Muhammad,
Average White Band,
DeepChord presents Echospace,
Marmalade,
Lower 48,
Moebius,
Rosa Yemen,
The Jesus and Mary Chain,
In Retrospect,
Pantytec,
Alphaville,
Bootsy Collins,
Al Stewart,
The Music Machine,
The Vogues,
Dennis Brown,
New Order,
D'Angelo,
Kool G Rap & DJ Polo,
DNA,
Strawberry Alarm Clock,
The Wake,
Art Ensemble Of Chicago,
Index,
The Doobie Brothers,
Flash Fearless,
Kango’s Stein Massive,
Panda Bear,
Minny Pops,
Slick Rick,
Organ,
Boogie Down Productions,
Japan,
The Angels of Light,
Wasted Youth,
Cybotron,
Black Flag,
The Durutti Column,
Kurtis Blow,
Au Pairs,
Country Joe & The Fish,
Arthur Verocai,
Bobbi Humphrey,
Anthony Braxton,
Ituana,
Richard Hell and the Voidoids,
Scion,
Rekid,
Marvin Gaye,
Donald Byrd,
the Normal,
Spandau Ballet,
Franke,
Sandy B,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.