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 Ethiopia and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Shanghai 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 snare 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 Moss Icon to the dance kids.
I played it at the Hacienda.
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 Kerrie Biddell. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every The Selecter 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 '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
The Count Five,
Porter Ricks,
K-Klass,
Sonic Youth,
Can,
Justin Hinds & The Dominoes,
Ultra Naté,
Eden Ahbez,
Ultravox,
Public Enemy,
The Star Department,
Dorothy Ashby,
Darondo,
Terrestrial Tones,
Tommy Roe,
The Fire Engines,
The Trojans,
Scratch Acid,
the Sonics,
Altered Images,
Smog,
Dual Sessions,
Dead Boys,
Big Daddy Kane,
Sun Ra Arkestra,
The Buckinghams,
Index,
CMW,
Marcia Griffiths,
Avey Tare & Kría Brekkan,
Oneida,
In Retrospect,
Jawbox,
Brand Nubian,
Hoover,
John Holt,
Man Eating Sloth,
Bill Near,
The Pop Group,
Malaria!,
Q and Not U,
The Cosmic Jokers,
Suburban Knight,
Cheater Slicks,
Glenn Branca,
Roxy Music,
Fela Kuti,
Half Japanese,
Gian Franco Pienzio,
Yellowson,
Michelle Simonal,
Simply Red,
Pere Ubu,
The Electric Prunes,
Wally Richardson,
Joey Negro,
Outsiders,
Dave Gahan,
The Techniques,
the Fania All-Stars,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.