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 Mozambique and from Mexico City.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Taipei and Edmonton.
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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Howard Jones to the rock 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 Shadows of Knight. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal punk 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Ludus,
Black Flag,
Dawn Penn,
Bronski Beat,
Interpol,
Eric Dolphy,
Manfred Mann's Earth Band,
Zapp,
10cc,
Aaron Thompson,
John Foxx,
Judy Mowatt,
Joe Finger,
Slave,
Lebanon Hanover,
Bluetip,
MDC,
Radiohead,
Lafayette Afro Rock Band,
Man Parrish,
D'Angelo,
The Barracudas,
The Moleskins,
Rahsaan Roland Kirk,
Lou Christie,
Strawberry Alarm Clock,
The Seeds,
Dave Gahan,
Chris & Cosey,
Bobby Hutcherson,
Crispy Ambulance,
Magazine,
Malaria!,
Visage,
Sunsets and Hearts,
Isaac Hayes,
Goldenarms,
Dorothy Ashby,
Mars,
EPMD,
L. Decosne,
Fat Boys,
Nico,
Derrick Morgan,
Notorious Big And Bone Thugs,
Accadde A,
Circle Jerks,
Basic Channel,
48th St. Collective,
Mary Jane Girls,
New York Dolls,
DeepChord presents Echospace,
R.M.O.,
Eddi Front,
The Mummies,
The Stooges,
Blossom Toes,
Parry Music,
Spoonie Gee,
Crash Course in Science,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.