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 Botswana and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Seoul and Lyon.
I'm losing my edge to the art-school Philadelphia 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 synthesizer 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 Warsaw to the electroclash 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 Kerri Chandler. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Accadde A,
Japan,
Drive Like Jehu,
Howard Jones,
Derrick Morgan,
Pylon,
Bob Dylan,
AZ,
Mark Hollis,
Cal Tjader,
Symarip,
The Skatalites,
The Kinks,
Funkadelic,
Connie Case,
Radio Birdman,
Soulsonic Force,
DNA,
Kevin Saunderson,
Stetsasonic,
Nirvana,
Rapeman,
The Star Department,
Young Marble Giants,
Guru Guru,
the Bar-Kays,
Youth Brigade,
Notorious BIG live in Amsterdam,
Kurtis Blow,
Kings Of Tomorrow,
Sun City Girls,
Inner City,
Gian Franco Pienzio,
Make Up,
Metal Thangz,
Nick Cave & The Bad Seeds,
Black Sheep,
DJ Style,
Alice Coltrane,
Beasts of Bourbon,
Strawberry Alarm Clock,
Lightning Bolt,
Andrew Ashong & Theo Parrish,
Robert Görl,
Talk Talk,
Suicide,
Quantec,
Sound Behaviour,
John Coltrane,
the Soft Cell,
Fat Boys,
David Bowie,
Fluxion,
Whodini,
Nation of Ulysses,
Crispy Ambulance,
Man Eating Sloth,
The Happenings,
Ralphi Rosario,
The Invisible,
The Dead C,
Lungfish,
Franke, Franke, Franke, Franke.
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.