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 Korea North and from Cairo.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Toronto and Beijing.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Big Daddy Kane to the disco 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 Flash Fearless. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every The Modern Lovers 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
Supertramp,
The Stooges,
Symarip,
Model 500,
Roger Hodgson,
Colin Newman,
Mad Mike,
The Real Kids,
The Modern Lovers,
Al Stewart,
Rahsaan Roland Kirk,
Essential Logic,
Negative Approach,
Jerry Gold Smith,
Parry Music,
Dawn Penn,
Gregory Isaacs,
The Trojans,
Radiohead,
Nas,
Kevin Saunderson,
The Happenings,
Heavy D & The Boyz,
Andrew Hill,
Man Parrish,
Godley & Creme,
The Skatalites,
Popol Vuh,
Soul II Soul,
The Blackbyrds,
Wasted Youth,
The Men They Couldn't Hang,
a-ha,
Eden Ahbez,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ultravox,
Cybotron,
Aural Exciters,
Pharaoh Sanders and the Fire Engines,
DJ Style,
The Fire Engines,
Angry Samoans,
Dorothy Ashby,
PIL,
The Velvet Underground,
Index,
Eyeless In Gaza,
Aloha Tigers,
Lungfish,
Marmalade,
Pet Shop Boys,
Crispian St. Peters,
Roxette,
cv313,
Delta 5,
Lou Reed,
The Offenders,
Qualms,
Todd Terry,
Animal Collective,
Cymande,
Man Eating Sloth,
Crime, Crime, Crime, Crime.
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.