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 East Timor and from Edmonton.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Taipei and Seoul.
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 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 Tom Verlaine 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 Eli Mardock to the rock kids.
I played it at Trash.
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 Soft Cell. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Boogie Down Productions record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Khruangbin,
Lungfish,
Sun Ra,
Excepter,
The Mighty Diamonds,
Masters at Work,
John Cale,
Jerry Gold Smith,
Franke,
Idris Muhammad,
The West Coast Pop Art Experimental Band,
Jandek,
Section 25,
Urselle,
Blossom Toes,
Rowland S Howard / Lydia Lunch,
The Cosmic Jokers,
Eli Mardock,
Soft Machine,
ABC,
The Tremeloes,
Rekid,
Model 500,
DJ Sneak,
The Names,
Quadrant,
Jeru the Damaja,
The Fortunes,
Colin Newman,
Gang of Four,
Kas Product,
Pet Shop Boys,
Be Bop Deluxe,
Jesper Dahlback,
X-102,
Derrick May,
Drexciya,
The Blues Magoos,
Dorothy Ashby,
World's Most,
The Victims,
Loose Ends,
The Misunderstood,
Lalo Schifrin,
Bob Dylan,
Mandrill,
Godley & Creme,
Mark Hollis,
Gang Gang Dance,
Matthew Bourne,
The Mojo Men,
Lucky Dragons,
Cheater Slicks,
Japan,
F. McDonald,
Funkadelic,
Popol Vuh,
Deutsch Amerikanische Freundschaft,
Joyce Sims,
Fluxion,
Groovy Waters,
Infiniti, Infiniti, Infiniti, Infiniti.
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.