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 Peru and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Calgary 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 Rakim to the jazz kids.
I played it at the Roxy.
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 Human League. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every The Zeros record on German import.
I heard that you have a white label of every seminal disco 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Gregory Isaacs,
June Days,
Grauzone,
The Durutti Column,
Outsiders,
Accadde A,
The Dave Clark Five,
Agitation Free,
The Red Krayola,
The Barracudas,
Bobby Womack,
Rufus Thomas,
Dennis Brown,
The Residents,
Maleditus Sound,
Crash Course in Science,
Agent Orange,
Lizzy Mercier Descloux,
Arthur Verocai,
Radiohead,
Neu!,
KRS-One,
Sex Pistols,
Max Romeo,
Royal Trux,
Rapeman,
Mantronix,
Amon Düül,
Fela Kuti,
Hasil Adkins,
AZ,
Dorothy Ashby,
Pete Rock & C.L. Smooth,
Charles Mingus,
The West Coast Pop Art Experimental Band,
Basic Channel,
Altered Images,
Lalann,
New Order,
Rites of Spring,
The Real Kids,
The Fortunes,
Ohio Players,
Gang Gang Dance,
Alison Limerick,
Idris Muhammad,
Make Up,
Funky Four + One,
Unwound,
Radiopuhelimet,
Robert Hood,
The Golliwogs,
Soft Cell,
The Moleskins,
Infiniti,
Jesper Dahlbäck,
John Foxx,
Cabaret Voltaire,
Aswad,
Janne Schatter,
Mars,
Ice-T,
Barclay James Harvest,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.