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 Turkey and from Lille.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1963 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school Calgary 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 harpsichord 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 DJ Style to the grime kids.
I played it at CBGB's.
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 The Moleskins. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a snare 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 chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
Cecil Taylor,
Flash Fearless,
KRS-One,
Camouflage,
Jerry Gold Smith,
Guru Guru,
The Neon Judgement,
David Axelrod,
Technova,
The Angels of Light,
The Sisters of Mercy,
Section 25,
Nick Fraelich,
Television Personalities,
Joey Negro,
Charles Mingus,
X-Ray Spex,
The American Breed,
X-102,
Ash Ra Tempel,
Severed Heads,
Radiohead,
Tommy Roe,
Peter and Kerry,
Lou Reed & John Cale,
cv313,
Bizarre Inc.,
The Fortunes,
Schoolly D,
The Moleskins,
Prince Buster,
Livin' Joy,
Lebanon Hanover,
Deutsch Amerikanische Freundschaft,
Radiopuhelimet,
Pantaleimon,
Cheater Slicks,
The Standells,
June of 44,
Ponytail,
the Swans,
Sex Pistols,
Scott Walker + Sunn O))),
Ituana,
Monks,
Silicon Teens,
Traffic Nightmare,
Average White Band,
Gang Starr,
Darondo,
Bronski Beat,
Gastr Del Sol,
Minor Threat,
Slick Rick,
Ultra Naté,
Derrick May,
Crime,
Fifty Foot Hose,
Rhythim Is Rhythim,
Byron Stingily,
Lucky Dragons,
Japan,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.