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 Kuwait and from Milan.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Madrid 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 at the first Suicide practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Eric B and Rakim to the jazz kids.
I played it at the Astoria.
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 Bill Near. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every The Names 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
The Moody Blues,
Little Man,
The Grass Roots,
Steve Hackett,
Negative Approach,
Andrew Ashong & Theo Parrish,
The Associates,
Thee Headcoats,
Supertramp,
The Monochrome Set,
Derrick May,
Juan Atkins,
Electric Light Orchestra,
FM Einheit,
Porter Ricks,
Nik Kershaw,
Arthur Verocai,
Public Image Ltd.,
The Birthday Party,
Mars,
Warren Ellis,
The Five Americans,
Mary Jane Girls,
Morten Harket,
The Shadows of Knight,
Girls At Our Best!,
Alice Coltrane,
The Buckinghams,
Guru Guru,
Mission of Burma,
H. Thieme,
Bizarre Inc.,
Dawn Penn,
Kerrie Biddell,
Spoonie Gee,
Matthew Bourne,
Bluetip,
Pole,
The Angels of Light,
Grey Daturas,
The Dirtbombs,
Chris & Cosey,
Technova,
Mr. Review,
Japan,
Brand Nubian,
Bush Tetras,
Suburban Knight,
David Axelrod,
Gabor Szabo,
Arcadia,
Lucky Dragons,
The Alarm Clocks,
Donny Hathaway,
Dual Sessions,
The Human League,
Sun Ra Arkestra,
Alton Ellis,
Skarface,
The Moleskins,
Terror Squad Feat. Camron,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.