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 Venezuela 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 1964 to 1977.
I'm losing my edge.
To all the kids in Houston and Milan.
I'm losing my edge to the art-school Lille 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb 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 Television to the crunk 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 Nas. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Red Lorry Yellow Lorry,
U.S. Maple,
The Mojo Men,
Moss Icon,
X-Ray Spex,
Sight & Sound,
Minnie Riperton,
Barclay James Harvest,
Lou Reed & John Cale,
48th St. Collective,
The Evens,
The Real Kids,
Tubeway Army,
Kurtis Blow,
Blossom Toes,
Mad Mike,
The Modern Lovers,
Grey Daturas,
Procol Harum,
Avey Tare,
Matthew Bourne,
the Soft Cell,
Gil Scott Heron,
Scott Walker + Sunn O))),
Selector Dub Narcotic,
Public Enemy,
Pharoah Sanders,
Richard Hell and the Voidoids,
Tears for Fears,
Tom Boy,
Davy DMX,
Fugazi,
Qualms,
Soul Sonic Force,
Yazoo,
The Star Department,
Supertramp,
Art Ensemble Of Chicago,
Dorothy Ashby,
Moebius,
Heaven 17,
Cheater Slicks,
Television,
Cymande,
Grauzone,
Quando Quango,
Rufus Thomas,
The Neon Judgement,
Electric Light Orchestra,
The Smiths,
Andrew Hill,
Scion,
Sly & The Family Stone,
Interpol,
Sugar Minott,
Beasts of Bourbon,
ABBA,
Organ,
Pantytec,
Talk Talk,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.