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 Nepal and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Manila 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 sitar 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 Hardrive to the rap kids.
I played it at Trash.
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 Byron Stingily. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every MDC 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Ituana,
Beasts of Bourbon,
The Vogues,
Robert Hood,
Sam Rivers,
Franke,
Roxette,
PIL,
Donald Byrd,
ABC,
Tubeway Army,
The Durutti Column,
Joey Negro,
The Dirtbombs,
The Divine Comedy,
The Associates,
Masters at Work,
Marc Almond,
Throbbing Gristle,
Fear,
Marmalade,
Yazoo,
Peter & Gordon,
Electric Light Orchestra,
The Sound,
Drive Like Jehu,
Gian Franco Pienzio,
Tres Demented,
Maurizio,
Brass Construction,
Cheater Slicks,
Deutsch Amerikanische Freundschaft,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Parry Music,
Hasil Adkins,
Smog,
The Searchers,
Technova,
Lou Christie,
Gang Green,
Aloha Tigers,
Sound Behaviour,
Monolake,
Khruangbin,
Oppenheimer Analysis,
Black Sheep,
Grey Daturas,
One Last Wish,
The Selecter,
Connie Case,
Hot Snakes,
The Cosmic Jokers,
This Heat,
Brothers Johnson,
These Immortal Souls,
Half Japanese,
Rhythm & Sound,
The Gories,
Tom Boy,
CMW,
Radio Birdman,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.