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 Dominica and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Winnipeg.
I'm losing my edge to the art-school Copenhagen 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 harpsichord 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 Heaven 17 to the electroclash 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 Red Lorry Yellow Lorry. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Cameo 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash 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?
Darondo,
Chris Corsano,
Magma,
Sonny Sharrock,
Dead Boys,
Bush Tetras,
Chris & Cosey,
The Divine Comedy,
Big Daddy Kane,
Echospace,
The Fuzztones,
Marine Girls,
Alison Limerick,
James Chance & The Contortions,
Duran Duran,
Banda Bassotti,
the Fania All-Stars,
Cheater Slicks,
The Victims,
Eden Ahbez,
Kevin Saunderson,
Amon Düül II,
The Alarm Clocks,
The Mummies,
It's A Beautiful Day,
Reagan Youth,
Barrington Levy,
The Techniques,
Leonard Cohen,
The Doors,
Todd Rundgren,
Marmalade,
The Remains,
Agitation Free,
Wire,
Gabor Szabo,
Scan 7,
Amon Düül,
Wings,
Ice-T,
Junior Murvin,
Roy Ayers,
Marvin Gaye,
Alton Ellis,
Faust,
Connie Case,
Ten City,
Erasure,
Justin Hinds & The Dominoes,
New York Dolls,
Lungfish,
Joyce Sims,
Freddie Wadling,
Eric B and Rakim,
Porter Ricks,
The Moleskins,
Archie Shepp,
Crispy Ambulance,
Morten Harket,
Donald Byrd,
Desert Stars,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.