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 Taiwan and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Lagos and New York.
I'm losing my edge to the art-school Tokyo 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Intrusion to the disco kids.
I played it at the Troubador.
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 Don Cherry. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Youth Brigade 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Crime,
New York Dolls,
Traffic Nightmare,
Neu!,
The Sisters of Mercy,
Youth Brigade,
The Motions,
Half Japanese,
The Blues Magoos,
Rufus Thomas,
Glambeats Corp.,
Nils Olav,
Idris Muhammad,
The Techniques,
Kaleidoscope,
Thee Headcoats,
Nico,
Fugazi,
Bobby Sherman,
In Retrospect,
Crispian St. Peters,
Albert Ayler,
Strawberry Alarm Clock,
Bang on a Can All-Stars,
Donny Hathaway,
The Dirtbombs,
Jawbox,
Camouflage,
The Cure,
Sugar Minott,
Ajijia Myrayebe,
Tubeway Army,
Arthur Verocai,
Sparks,
China Crisis,
Barry Ungar,
Roxette,
The Angels of Light,
Negative Approach,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Holt,
Gang Starr,
Angry Samoans,
Stereo Dub,
the Germs,
Gerry Rafferty,
Kurtis Blow,
Cal Tjader,
UT,
The Real Kids,
Kevin Saunderson,
La Düsseldorf,
This Heat,
Rotary Connection,
New Order,
Wolf Eyes,
Toni Rubio,
Rhythm & Sound,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.