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 Bolivia and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Salvador 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 mellotron sounds with much patience.
I was there when David Bowie 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 Barclay James Harvest to the techno 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 Marmalade. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Animal Collective 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Ossler,
Beasts of Bourbon,
Metal Thangz,
The Vogues,
John Cale,
Todd Rundgren,
Aswad,
Section 25,
Crash Course in Science,
Bizarre Inc.,
Cameo,
Boogie Down Productions,
Desert Stars,
Mandrill,
Essential Logic,
Charles Mingus,
Tears for Fears,
Art Ensemble Of Chicago,
Lou Reed & Metallica,
Can,
The Mummies,
Buzzcocks,
Arthur Verocai,
Fela Kuti,
Stereo Dub,
Bobby Hutcherson,
Popol Vuh,
The Motions,
Little Man,
Public Enemy,
Kings Of Tomorrow,
The Doobie Brothers,
Model 500,
Marc Almond,
Brand Nubian,
Marine Girls,
Bang On A Can,
Goldenarms,
Gregory Isaacs,
the Human League,
Liaisons Dangereuses,
Country Teasers,
Severed Heads,
John Foxx,
Audionom,
Gang Green,
Soulsonic Force,
Index,
Eric Copeland,
the Normal,
Deakin,
Television,
Unrelated Segments,
The Tremeloes,
Dorothy Ashby,
Liliput,
China Crisis,
The Wake,
Angels of Light & Akron/Family,
Neil Young & Crazy Horse,
Robert Hood,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.