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 Gambia and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Hong Kong 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 808 sounds with much patience.
I was there when Nile Rodgers 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 Sound Behaviour to the rock 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 The Doors. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Audionom,
Terrestrial Tones,
Susan Cadogan,
The Litter,
48th St. Collective,
Mo-Dettes,
Joensuu 1685,
The Angels of Light,
Con Funk Shun,
Albert Ayler,
The Fire Engines,
Newcleus,
Ultravox,
Technova,
The Mighty Diamonds,
Sun Ra Arkestra,
The Saints,
The Blues Magoos,
8 Eyed Spy,
Aloha Tigers,
Oneida,
Radio Birdman,
Von Mondo,
Donny Hathaway,
Lou Reed,
Lou Christie,
Sparks,
Dark Day,
Justin Hinds & The Dominoes,
Patti Smith,
Bill Wells,
Intrusion,
Sun City Girls,
Black Flag,
the Fania All-Stars,
Manfred Mann's Earth Band,
Make Up,
Lebanon Hanover,
The Fugs,
Moby Grape,
Cecil Taylor,
Subhumans,
Sällskapet,
Scan 7,
Outsiders,
Bang On A Can,
The Tremeloes,
Ronnie Foster,
John Coltrane,
Clear Light,
DJ Sneak,
John Foxx,
Popol Vuh,
Andrew Ashong & Theo Parrish,
The Shadows of Knight,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.