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 Denmark and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Mumbai 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Leaves to the disco kids.
I played it at the Crocodile.
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 Radiohead. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Vladislav Delay,
Art Ensemble Of Chicago,
Supertramp,
Kauko Röyhkä ja Narttu,
Lee Hazlewood,
Shoche,
Rhythm & Sound,
Teenage Jesus and the Jerks,
Spandau Ballet,
Sparks,
Joy Division,
Eric B and Rakim,
Accadde A,
Sex Pistols,
Moby Grape,
Lalo Schifrin,
Bobby Hutcherson,
The Names,
Motorama,
The Trojans,
Con Funk Shun,
Peter and Kerry,
Kerri Chandler,
Kevin Saunderson,
Tubeway Army,
The Angels of Light,
Kas Product,
Average White Band,
World's Most,
Hoover,
Connie Case,
A Flock of Seagulls,
The Cowsills,
Surgeon,
Boogie Down Productions,
David McCallum,
Magma,
Al Stewart,
Terry Callier,
Bootsy Collins,
The Men They Couldn't Hang,
The Kinks,
Sonny Sharrock,
Underground Resistance,
Audionom,
UT,
PIL,
The Monks,
The Knickerbockers,
Tim Buckley,
Fluxion,
The Fugs,
Severed Heads,
Qualms,
Heavy D & The Boyz,
Rekid,
Oneida,
Siouxsie and the Banshees,
Lucky Dragons,
Lebanon Hanover,
Jimmy McGriff,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.