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 Argentina and from Houston.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Paris 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Moe Dee to the disco 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 Banda Bassotti. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Interpol 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
The Dead C,
Jeff Mills,
Joyce Sims,
A Certain Ratio,
Gian Franco Pienzio,
Barrington Levy,
Crash Course in Science,
Prince Buster,
Peter & Gordon,
The Sound,
Avey Tare's Slasher Flicks,
Ultramagnetic MC's,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bootsy Collins,
Big Daddy Kane,
Grauzone,
Shoche,
Janne Schatter,
Camberwell Now,
Cymande,
Suicide,
Altered Images,
Lightning Bolt,
Peter Gordon & Love of Life Orchestra,
Nico,
Mad Mike,
Quantec,
Steve Hackett,
Average White Band,
Guru Guru,
Country Teasers,
Harmonia,
The Searchers,
Magazine,
Scott Walker + Sunn O))),
Franke,
Captain Beefheart & His Magic Band,
Laurel Aitken,
Television Personalities,
The Star Department,
Joy Division,
Motorama,
Grandmaster Flash,
Tres Demented,
Marcia Griffiths,
Tim Buckley,
Ash Ra Tempel,
The Trojans,
Malaria!,
Sonny Sharrock,
Bill Wells,
48th St. Collective,
Fort Wilson Riot,
Brand Nubian,
Von Mondo,
The Golliwogs,
Hoover,
The Move,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.