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 Tonga and from Manila.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Paris 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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Crash Course in Science to the rap kids.
I played it at the Spitz.
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 Avey Tare. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Mandrill 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts 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?
Davy DMX,
the Soft Cell,
The Doors,
Intrusion,
The Count Five,
Visage,
Pharoah Sanders,
Fatback Band,
Kauko Röyhkä ja Narttu,
Nik Kershaw,
Lou Reed,
Eric B and Rakim,
Kerri Chandler,
Angry Samoans,
Section 25,
The Gladiators,
The Dirtbombs,
Babytalk,
Nirvana,
Jacob Miller,
Arab on Radar,
Motorama,
Al Stewart,
Glenn Branca,
Rekid,
Bizarre Inc.,
Pere Ubu,
Ludus,
Harry Pussy,
Panda Bear,
Wings,
Ken Boothe,
Little Man,
Zero Boys,
Marshall Jefferson,
Kayak,
Don Cherry,
The Moody Blues,
A Certain Ratio,
Unwound,
Lalann,
Second Layer,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Theoretical Girls,
The Raincoats,
Big Daddy Kane,
ABC,
Tears for Fears,
The Slackers,
Radio Birdman,
Spandau Ballet,
Matthew Bourne,
Andrew Ashong & Theo Parrish,
Sexual Harrassment,
Average White Band,
Ash Ra Tempel,
Desert Stars,
The Martian,
Niagra,
Pussy Galore,
JFA,
The Monochrome Set,
Yazoo, Yazoo, Yazoo, Yazoo.
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.