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 Cuba and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school Winnipeg 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 Tom Verlaine 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 Adolescents to the electroclash 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 The Smiths. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal grime 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 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your organ and bought a güiro.
I hear that you and your band have sold your güiro and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
The Star Department,
Blancmange,
L. Decosne,
Gregory Isaacs,
Avey Tare,
Wings,
Angry Samoans,
Kevin Saunderson,
the Normal,
The Count Five,
Boogie Down Productions,
Matthew Halsall,
Danielle Patucci,
The West Coast Pop Art Experimental Band,
Bobby Womack,
Gastr Del Sol,
Blake Baxter,
Swell Maps,
Faust,
Bizarre Inc.,
The Real Kids,
Newcleus,
Ohio Players,
The Tremeloes,
The Kinks,
Orchestral Manoeuvres in the Dark,
Fatback Band,
Interpol,
Nik Kershaw,
U.S. Maple,
Terry Callier,
Brand Nubian,
Japan,
Pierre Henry,
Carl Craig,
Sixth Finger,
Angels of Light & Akron/Family,
Cameo,
Crash Course in Science,
Desert Stars,
Surgeon,
The Seeds,
Monolake,
Soul II Soul,
Zapp,
Kool Moe Dee,
The Cowsills,
The Gap Band,
Fifty Foot Hose,
Unrelated Segments,
Ossler,
The Techniques,
Gang Starr,
Roy Ayers Ubiquity,
Teenage Jesus and the Jerks,
Joe Finger,
Gary Puckett & The Union Gap,
The Raincoats,
Eddi Front,
Pagans,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.