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 Russia and from Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1971.
I'm losing my edge.
To all the kids in Madrid and Cairo.
I'm losing my edge to the art-school Sao Paulo 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 Nile Rodgers 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 Sly & The Family Stone to the jazz 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 Rosa Yemen. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every MC5 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin 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 marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
The Grass Roots,
De La Soul & Jungle Brothers,
Terry Callier,
Kevin Saunderson,
Frankie Knuckles,
Siouxsie and the Banshees,
Grey Daturas,
Soulsonic Force,
Yazoo,
Lalann,
Joyce Sims,
James White and The Blacks,
Dead Boys,
Barrington Levy,
Pylon,
Adolescents,
The Blues Magoos,
Young Marble Giants,
The Moody Blues,
The Fire Engines,
The Slits,
Average White Band,
Livin' Joy,
B.T. Express,
Wire,
June of 44,
Junior Murvin,
Jacques Brel,
The Busters,
Bad Manners,
June Days,
Tim Buckley,
The Vogues,
Marc Almond,
Nik Kershaw,
Mad Mike,
Country Joe & The Fish,
Danielle Patucci,
Robert Görl,
Royal Trux,
Heavy D & The Boyz,
Vladislav Delay,
Monolake,
Lafayette Afro Rock Band,
Bobby Sherman,
Dual Sessions,
Alice Coltrane,
The Gun Club,
Jerry's Kids,
Newcleus,
Qualms,
Theoretical Girls,
Warren Ellis,
Dawn Penn,
Ultra Naté,
Neil Young,
Organ,
Marvin Gaye,
Boredoms,
Red Lorry Yellow Lorry,
Interpol,
The Cramps,
The Toasters,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.