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 India and from New York.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Tehran 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Kool G Rap & DJ Polo to the punk kids.
I played it at the Troubador.
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 Pole. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
John Cale,
New York Dolls,
The United States of America,
Aaron Thompson,
Little Man,
Barbara Tucker,
Susan Cadogan,
the Bar-Kays,
The Five Americans,
Camberwell Now,
Judy Mowatt,
The Walker Brothers,
Charles Mingus,
The Dead C,
Donald Byrd,
The Cowsills,
Mr. Review,
Grandmaster Flash and the Furious Five,
Unwound,
Bang on a Can All-Stars,
Young Marble Giants,
DeepChord presents Echospace,
Fluxion,
Richard Hell and the Voidoids,
Gregory Isaacs,
Sound Behaviour,
Jacob Miller,
the Germs,
Animal Collective,
Major Organ And The Adding Machine,
John Foxx,
Oppenheimer Analysis,
Kool Moe Dee,
Monks,
Tommy Roe,
Excepter,
Bobby Byrd,
Reuben Wilson,
The Gun Club,
Black Pus,
Jerry's Kids,
Manfred Mann's Earth Band,
Gang of Four,
Organ,
Circle Jerks,
Hasil Adkins,
Section 25,
Sixth Finger,
Neil Young,
The Red Krayola,
Vaughan Mason & Crew,
the Human League,
Quadrant,
Bill Near,
The Music Machine,
Bootsy's Rubber Band,
Tres Demented,
Joe Smooth,
The Sisters of Mercy,
Visage, Visage, Visage, Visage.
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.