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 Suriname and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Woodstock 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 Minny Pops to the punk kids.
I played it at the Roxy.
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 Con Funk Shun. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Radio Birdman,
Jesper Dahlback,
Tubeway Army,
Bluetip,
The Trojans,
Icehouse,
JFA,
Babytalk,
Aswad,
Ronnie Foster,
The Fuzztones,
Newcleus,
Drive Like Jehu,
Franke,
The Alarm Clocks,
Maleditus Sound,
John Coltrane,
Kurtis Blow,
Hoover,
China Crisis,
The Buckinghams,
Nik Kershaw,
Big Daddy Kane,
Jesper Dahlbäck,
Rosa Yemen,
The Blues Magoos,
Japan,
Avey Tare,
The Cowsills,
Bad Manners,
John Foxx,
Masters at Work,
Electric Prunes,
Surgeon,
Siglo XX,
Rotary Connection,
Michelle Simonal,
Aural Exciters,
The Grass Roots,
Sister Nancy,
Groovy Waters,
Kerrie Biddell,
The Gap Band,
The Beau Brummels,
Interpol,
Johnny Clarke,
Robert Hood,
Deakin,
Rhythm & Sound,
Marc Romboy vs. Booka Shade,
Gian Franco Pienzio,
Connie Case,
Alice Coltrane,
Matthew Halsall,
The Fall,
The Smiths,
Kings Of Tomorrow,
The Five Americans,
Arthur Verocai,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.