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 Maldives and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 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 Subhumans to the punk 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 Faraquet. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot 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?
Don Cherry,
Urselle,
the Bar-Kays,
Soul II Soul,
Tommy Roe,
The Birthday Party,
Grey Daturas,
The Tremeloes,
Moebius,
Magazine,
The Pop Group,
Rod Modell,
The Neon Judgement,
Zero Boys,
Skarface,
Pharaoh Sanders and the Fire Engines,
Scratch Acid,
Lafayette Afro Rock Band,
JFA,
Danielle Patucci,
Todd Terry,
Soft Cell,
Bootsy Collins,
Maleditus Sound,
The New Christs,
The Fall,
Reuben Wilson,
John Foxx,
The Durutti Column,
Stiv Bators,
Rotary Connection,
Echo & the Bunnymen,
Crooked Eye,
Howard Jones,
The Count Five,
Bad Manners,
Stetsasonic,
The Misunderstood,
The Jesus and Mary Chain,
Depeche Mode,
Manfred Mann's Earth Band,
Derrick Morgan,
Letta Mbulu,
Oppenheimer Analysis,
The Trojans,
Quantec,
Hot Snakes,
Subhumans,
Sticky Fingaz feat. Raekwon,
Cal Tjader,
Arthur Verocai,
Chrome,
Index,
Interpol,
Deepchord,
Main Source,
Eric Copeland,
Jacob Miller,
Unrelated Segments,
Fat Boys,
Malaria!,
D'Angelo,
Slave, Slave, Slave, Slave.
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.