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 Swaziland and from Toronto.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1978.
I'm losing my edge.
To all the kids in Mumbai and Calgary.
I'm losing my edge to the art-school Taipei 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the marimba 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 Dual Sessions to the rap 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 Stockholm Monsters. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every The Techniques 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
It's A Beautiful Day,
Interpol,
Marcia Griffiths,
Wolf Eyes,
Jeff Lynne,
Roxette,
The Dirtbombs,
The Star Department,
Bluetip,
Toni Rubio,
Pussy Galore,
Arab on Radar,
The Remains,
Scrapy,
The Mighty Diamonds,
Bobby Sherman,
Bizarre Inc.,
Gil Scott-Heron and Jamie xx,
DeepChord presents Echospace,
Jesper Dahlbäck,
OOIOO,
Danielle Patucci,
Main Source,
Peter Gordon & Love of Life Orchestra,
Parry Music,
Boz Scaggs,
Soft Cell,
Duran Duran,
Tears for Fears,
The Divine Comedy,
Cecil Taylor,
Index,
Captain Beefheart & His Magic Band,
The Misunderstood,
Gang Starr,
Soulsonic Force,
Marvin Gaye,
Judy Mowatt,
Crispian St. Peters,
Soft Machine,
Jawbox,
Cluster,
David Bowie,
Popol Vuh,
Oblivians,
Procol Harum,
the Sonics,
Boogie Down Productions,
June Days,
Iggy Pop,
Sex Pistols,
The Selecter,
48th St. Collective,
Kaleidoscope,
Patti Smith,
Sixth Finger,
Minutemen,
Public Image Ltd.,
Magma,
The Black Dice,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.