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 Sri Lanka and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Madrid 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 Lou Reed 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 Heavy D & The Boyz to the rap kids.
I played it at the Crocodile.
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 Ten City. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Glambeats Corp. 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Zero Boys,
Slick Rick,
Depeche Mode,
Black Pus,
Eric Copeland,
Mary Jane Girls,
Rakim,
The Moody Blues,
Magazine,
Pole,
Sixth Finger,
Andrew Hill,
Super Lover Cee & Casanova Rud,
The Smiths,
Shuggie Otis,
Toni Rubio,
Chris Corsano,
Skriet,
The Toasters,
The Techniques,
the Fania All-Stars,
Inner City,
The Motions,
Cymande,
Fatback Band,
Amon Düül,
Babytalk,
Judy Mowatt,
Lou Reed & Metallica,
David McCallum,
Ajijia Myrayebe,
Don Cherry,
Richard Hell and the Voidoids,
The Remains,
The Index,
The Fortunes,
Sight & Sound,
Sam Rivers,
Scrapy,
Fugazi,
The Trojans,
Donny Hathaway,
The Associates,
Procol Harum,
Camberwell Now,
Matthew Bourne,
Laurel Aitken,
Steve Hackett,
Gil Scott-Heron and Jamie xx,
Marine Girls,
Bauhaus,
Pierre Henry,
The Black Dice,
Andrew Ashong & Theo Parrish,
ABBA,
48th St. Collective,
Ohio Players,
T. Rex,
Tres Demented,
Traffic Nightmare,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.