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 Germany and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Johannesburg and Delhi.
I'm losing my edge to the art-school Taipei 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 F. McDonald to the electroclash kids.
I played it at Cafe Wha.
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 Roger Hodgson. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Dr. Dre and Snoop Doggy Dog,
The Toasters,
Harpers Bizarre,
Nils Olav,
Bronski Beat,
FM Einheit,
Oneida,
Crash Course in Science,
Alison Limerick,
The Techniques,
Gary Puckett & The Union Gap,
The Associates,
Lyres,
Freddie Wadling,
Neil Young & Crazy Horse,
Hasil Adkins,
Robert Görl,
Ultimate Spinach,
Strawberry Alarm Clock,
Model 500,
Altered Images,
The Tremeloes,
Saccharine Trust,
Eric Copeland,
Cal Tjader,
The Busters,
the Association,
Lucky Dragons,
Tres Demented,
Mantronix,
Lindisfarne,
Tubeway Army,
Bang On A Can,
Ossler,
KRS-One,
Gian Franco Pienzio,
Procol Harum,
DNA,
Joensuu 1685,
Wings,
Ornette Coleman,
The Sound,
Dawn Penn,
Agent Orange,
Johnny Osbourne,
The Shadows of Knight,
Robert Wyatt,
Glenn Branca,
Erykah Badu,
Subhumans,
Red Lorry Yellow Lorry,
Gregory Isaacs,
Grey Daturas,
Bad Manners,
The United States of America,
The Cowsills,
X-Ray Spex,
Newcleus,
The Red Krayola,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.