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 Libya and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1976.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Seoul 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 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 Cameo to the jazz kids.
I played it at Trash.
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 Harpers Bizarre. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every MDC record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Rufus Thomas,
Robert Hood,
Deutsch Amerikanische Freundschaft,
Roxette,
Lalann,
Young Marble Giants,
Amon Düül II,
Mo-Dettes,
Fort Wilson Riot,
Althea and Donna,
Masters at Work,
Infiniti,
Curtis Mayfield,
Carl Craig,
Mad Mike,
The Saints,
The Misunderstood,
Archie Shepp,
Lower 48,
De La Soul & Jungle Brothers,
K-Klass,
Brass Construction,
Technova,
Bob Dylan,
Ten City,
The Fortunes,
X-Ray Spex,
Crooked Eye,
The Leaves,
Soft Machine,
Franke,
The Music Machine,
Banda Bassotti,
The Smoke,
Sun Ra,
Saccharine Trust,
48th St. Collective,
Public Image Ltd.,
EPMD,
The Smiths,
Wolf Eyes,
Bang on a Can All-Stars,
UT,
AZ,
Eve St. Jones,
Nik Kershaw,
the Fania All-Stars,
Eric Dolphy,
Joyce Sims,
Lou Reed & John Cale,
A Certain Ratio,
Pussy Galore,
Gil Scott-Heron & Brian Jackson,
Bootsy Collins,
ABBA,
Boogie Down Productions,
Scion,
Reagan Youth,
The Remains,
Neil Young & Crazy Horse,
Delta 5, Delta 5, Delta 5, Delta 5.
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.