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 Libya and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Accra 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer 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 Terrestrial Tones to the electroclash kids.
I played it at the Astoria.
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 Fat Boys. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your organ and bought a sitar.
I hear that you and your band have sold your sitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Sandy B,
Excepter,
Radiohead,
Eddi Front,
Youth Brigade,
Arab on Radar,
The Alarm Clocks,
Model 500,
The Moleskins,
the Bar-Kays,
Crispian St. Peters,
Second Layer,
Pierre Henry,
Liaisons Dangereuses,
E-Dancer,
Andrew Ashong & Theo Parrish,
James Chance & The Contortions,
Todd Rundgren,
Sight & Sound,
The Tremeloes,
the Association,
The Star Department,
Man Eating Sloth,
Dawn Penn,
Arthur Verocai,
Sly & The Family Stone,
The Buckinghams,
Delon & Dalcan,
The Black Dice,
The Seeds,
Aloha Tigers,
The Birthday Party,
Pet Shop Boys,
Whodini,
The Zeros,
Pussy Galore,
Chris Corsano,
Lucky Dragons,
Davy DMX,
Lalo Schifrin,
Basic Channel,
Bang On A Can,
The Fuzztones,
Matthew Halsall,
Piero Umiliani,
Stetsasonic,
Bill Near,
Brick,
The Techniques,
Traffic Nightmare,
Unrelated Segments,
John Foxx,
Severed Heads,
Newcleus,
Soulsonic Force,
Minor Threat,
Cluster,
Monolake,
Bizarre Inc.,
X-102,
Kool Moe Dee,
Eden Ahbez,
Slave, Slave, Slave, Slave.
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.