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 Solomon Islands and from Manila.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Mumbai 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 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 Avey Tare & Kría Brekkan to the rap 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 Camron Feat. Jay Z And Juelz. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Sun Ra record on German import.
I heard that you have a white label of every seminal grunge 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Scratch Acid,
Glambeats Corp.,
Magazine,
Zero Boys,
Y Pants,
Funky Four + One,
Graham Central Station,
Radiohead,
Gil Scott-Heron & Brian Jackson,
the Sonics,
Wighnomy Brothers & Robag Wruhme,
Sly & The Family Stone,
Teenage Jesus and the Jerks,
Heavy D & The Boyz,
Scott Walker,
Bronski Beat,
Lucky Dragons,
These Immortal Souls,
Echo & the Bunnymen,
Pete Rock & C.L. Smooth,
Warsaw,
Parry Music,
Marshall Jefferson,
ABBA,
Bill Near,
The Associates,
Joy Division,
Depeche Mode,
Pierre Henry,
Todd Terry,
Rakim,
Masters at Work,
Lou Reed & Metallica,
Oppenheimer Analysis,
Roxette,
The Wake,
Chrome,
Cameo,
It's A Beautiful Day,
Pulsallama,
Ultramagnetic MC's,
AZ,
Marc Almond,
Silicon Teens,
Notorious Big And Bone Thugs,
Cybotron,
Gang Green,
Fluxion,
Ornette Coleman,
D'Angelo,
Mr. Review,
Intrusion,
Rhythim Is Rhythim,
Pole,
EPMD,
The Litter,
The American Breed,
Deadbeat,
The Gladiators,
Lakeside,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.