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 Romania and from Glasgow.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Calgary and Mumbai.
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 808 sounds with much patience.
I was there when Tom Verlaine 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 Matthew Halsall to the disco kids.
I played it at the Spitz.
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 Crash Course in Science. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Boz Scaggs 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kayak record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Cabaret Voltaire,
Negative Approach,
Infiniti,
Buzzcocks,
Sexual Harrassment,
Jacques Brel,
Robert Hood,
Camberwell Now,
Crispy Ambulance,
Gil Scott-Heron & Brian Jackson,
A Certain Ratio,
The Standells,
Wasted Youth,
Inner City,
Theoretical Girls,
Gian Franco Pienzio,
ABC,
Index,
Gastr Del Sol,
The Peanut Butter Conspiracy,
Quadrant,
Lou Reed,
The Dead C,
the Germs,
The Moody Blues,
Marvin Gaye,
John Coltrane,
Fluxion,
Lyres,
The Pop Group,
Kaleidoscope,
In Retrospect,
Lizzy Mercier Descloux,
Sonic Youth,
Rotary Connection,
Massinfluence,
Jerry's Kids,
The West Coast Pop Art Experimental Band,
Soft Machine,
Depeche Mode,
Blake Baxter,
Connie Case,
Maurizio,
Shoche,
Andrew Ashong & Theo Parrish,
Fifty Foot Hose,
Unwound,
Pierre Henry,
Marshall Jefferson,
Sight & Sound,
Mark Hollis,
The Durutti Column,
Skriet,
Patti Smith,
Johnny Osbourne,
John Holt,
Rowland S Howard / Lydia Lunch,
Yusef Lateef,
Selector Dub Narcotic,
Barbara Tucker,
Sandy B, Sandy B, Sandy B, Sandy B.
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.