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 Belgium and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1964 to 1972.
I'm losing my edge.
To all the kids in Milan and Stockholm.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 Girls At Our Best! to the electroclash kids.
I played it at the 40 Watt.
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 Moody Blues. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every June Days 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
KRS-One,
Spandau Ballet,
Andrew Hill,
Grauzone,
Silicon Teens,
U.S. Maple,
Sister Nancy,
The West Coast Pop Art Experimental Band,
Röyhkä ja Rättö ja Lehtisalo,
Tropical Tobacco,
Ultramagnetic MC's,
Liaisons Dangereuses,
Chris & Cosey,
The Cosmic Jokers,
Das Ding,
CMW,
Justin Hinds & The Dominoes,
Goldenarms,
Moebius,
James Chance & The Contortions,
Negative Approach,
Ludus,
Marine Girls,
Peter & Gordon,
Lindisfarne,
Carl Craig,
Hashim,
Jeff Mills,
Arthur Verocai,
Half Japanese,
Ultra Naté,
Fat Boys,
The Cowsills,
Monolake,
Red Lorry Yellow Lorry,
Eric Copeland,
Soft Machine,
Ornette Coleman,
Ronan,
Bootsy's Rubber Band,
Mark Hollis,
Teenage Jesus and the Jerks,
Newcleus,
Jeff Lynne,
Cybotron,
Man Parrish,
Pere Ubu,
Thee Headcoats,
Porter Ricks,
Scan 7,
Radiopuhelimet,
UT,
Lou Reed,
Cheater Slicks,
Marmalade,
Boz Scaggs,
Oppenheimer Analysis,
Selector Dub Narcotic,
a-ha,
X-101, X-101, X-101, X-101.
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.