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 Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1975.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Bremen 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 organ sounds with much patience.
I was there when Lou Reed 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 Kevin Saunderson to the rap 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 De La Soul & Jungle Brothers. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Niagra,
Jandek,
Orchestral Manoeuvres in the Dark,
Crooked Eye,
Mo-Dettes,
Technova,
Wally Richardson,
Big Daddy Kane,
Howard Jones,
Eddi Front,
Spandau Ballet,
Bobby Byrd,
Black Moon,
Soft Cell,
Funkadelic,
Connie Case,
the Bar-Kays,
Joy Division,
Byron Stingily,
Justin Hinds & The Dominoes,
The Vogues,
The Misunderstood,
The Gories,
Wire,
Barrington Levy,
Andrew Hill,
Mars,
Anthony Braxton,
Nirvana,
Pierre Henry,
Make Up,
The Shadows of Knight,
The Mojo Men,
Bobby Hutcherson,
Television,
These Immortal Souls,
The Pop Group,
Talk Talk,
Kas Product,
Simply Red,
Spoonie Gee,
The Cowsills,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mandrill,
Dark Day,
Davy DMX,
Little Man,
Half Japanese,
Jeff Mills,
World's Most,
Grey Daturas,
Deadbeat,
Boz Scaggs,
Notorious BIG live in Amsterdam,
D'Angelo,
Gil Scott Heron,
L. Decosne,
Bobby Womack,
Ossler,
Tom Boy,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.