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 Monaco and from Madrid.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tehran and Bologna.
I'm losing my edge to the art-school Toronto 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 London Community Gospel Choir to the rap kids.
I played it at the Spitz.
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 New Order. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Girls At Our Best!,
Loose Ends,
Crash Course in Science,
Crime,
Sugar Minott,
Traffic Nightmare,
Adolescents,
Lebanon Hanover,
Strawberry Alarm Clock,
Guru Guru,
The Offenders,
Massinfluence,
AZ,
Steve Hackett,
Jimmy McGriff,
Joyce Sims,
Quadrant,
Sixth Finger,
La Düsseldorf,
June of 44,
The Tremeloes,
The Gories,
Susan Cadogan,
John Holt,
K-Klass,
Spandau Ballet,
Deepchord,
The Alarm Clocks,
Con Funk Shun,
Lalann,
The Zeros,
Ash Ra Tempel,
Al Stewart,
Super Lover Cee & Casanova Rud,
Depeche Mode,
Camouflage,
KRS-One,
Qualms,
Aural Exciters,
Sound Behaviour,
Derrick May,
Underground Resistance,
Reuben Wilson,
The New Christs,
Talk Talk,
Pylon,
the Slits,
Rahsaan Roland Kirk,
Unwound,
Cheater Slicks,
The Doors,
Franke,
The Remains,
Marc Almond,
Letta Mbulu,
Grandmaster Flash,
Joensuu 1685,
The Names,
The Neon Judgement,
Ronnie Foster,
Gichy Dan,
Television Personalities,
Ponytail, Ponytail, Ponytail, Ponytail.
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.