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 India and from Toronto.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Columbus and Taipei.
I'm losing my edge to the art-school Bremen 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 rhodes 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 The West Coast Pop Art Experimental Band to the grime kids.
I played it at the 40 Watt.
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 Ornette Coleman. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Teenage Jesus and the Jerks,
Sun Ra Arkestra,
the Swans,
H. Thieme,
Section 25,
Bronski Beat,
Marine Girls,
Public Image Ltd.,
Massinfluence,
The Cosmic Jokers,
ABC,
Crime,
Brand Nubian,
Terry Callier,
Sad Lovers and Giants,
Liaisons Dangereuses,
Kevin Saunderson,
Kerrie Biddell,
Lou Christie,
The Kinks,
Jesper Dahlback,
Severed Heads,
Electric Light Orchestra,
Ludus,
Manfred Mann's Earth Band,
Nas,
Crash Course in Science,
Sunsets and Hearts,
Lungfish,
The Human League,
Fugazi,
Kool G Rap & DJ Polo,
Fela Kuti,
The Fire Engines,
Delta 5,
The Count Five,
Scratch Acid,
Mary Jane Girls,
The Music Machine,
David Axelrod,
Man Eating Sloth,
Pylon,
Gil Scott-Heron & Brian Jackson,
Marmalade,
Glambeats Corp.,
The Men They Couldn't Hang,
the Soft Cell,
Pantytec,
John Coltrane,
Stetsasonic,
La Düsseldorf,
The Blackbyrds,
Niagra,
Byron Stingily,
New Age Steppers,
Joe Smooth,
The Birthday Party,
ABBA,
EPMD,
Average White Band,
PIL,
Ralphi Rosario,
Ronan,
Parry Music, Parry Music, Parry Music, Parry Music.
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.