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 Afghanistan and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Toronto 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 theremin 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 Alphaville to the grime 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 Colin Newman. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal crunk 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 linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
The Knickerbockers,
Cheater Slicks,
Chris & Cosey,
Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
Frankie Knuckles,
Slick Rick,
Hoover,
Lafayette Afro Rock Band,
Matthew Bourne,
Alison Limerick,
Excepter,
The Grass Roots,
Glambeats Corp.,
Peter Gordon & Love of Life Orchestra,
Mantronix,
The Jesus and Mary Chain,
the Bar-Kays,
Sonny Sharrock,
Make Up,
Eric Copeland,
Kas Product,
Liliput,
Danielle Patucci,
Robert Hood,
Ossler,
Kauko Röyhkä ja Narttu,
The Moleskins,
Moby Grape,
Funky Four + One,
Ponytail,
DJ Style,
Strawberry Alarm Clock,
Cameo,
Mars,
Con Funk Shun,
Brothers Johnson,
Mandrill,
T.S.O.L.,
Mr. Review,
Ash Ra Tempel,
The Mojo Men,
Bauhaus,
Sun Ra Arkestra,
Half Japanese,
The Saints,
Saccharine Trust,
Stereo Dub,
Interpol,
Stetsasonic,
Q and Not U,
Grey Daturas,
Rapeman,
Robert Wyatt,
Livin' Joy,
LL Cool J,
Archie Shepp,
Nik Kershaw,
Bootsy's Rubber Band,
Amon Düül II,
The Cramps, The Cramps, The Cramps, The Cramps.
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.