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 Belize and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1973.
I'm losing my edge.
To all the kids in Portland and Lagos.
I'm losing my edge to the art-school Manila 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 theremin 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 Arcadia to the grime kids.
I played it at Cafe Wha.
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 Eurythmics. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Pierre Henry,
Can,
Cal Tjader,
Throbbing Gristle,
Silicon Teens,
The Pop Group,
Major Organ And The Adding Machine,
Grandmaster Flash,
The West Coast Pop Art Experimental Band,
Terry Callier,
UT,
The Men They Couldn't Hang,
Shoche,
Derrick Morgan,
The Count Five,
Laurel Aitken,
Rod Modell,
Jesper Dahlback,
Lee Hazlewood,
Roxette,
Glenn Branca,
Hashim,
Black Bananas,
Lafayette Afro Rock Band,
Nirvana,
Panda Bear,
Camouflage,
KRS-One,
Cluster,
Roy Ayers,
The Real Kids,
Terrestrial Tones,
Susan Cadogan,
The Misunderstood,
Harpers Bizarre,
Pussy Galore,
Johnny Osbourne,
Grauzone,
Byron Stingily,
Sparks,
Joy Division,
The Vogues,
Parry Music,
Urselle,
Technova,
Tres Demented,
Japan,
Sonny Sharrock,
Crash Course in Science,
Chris & Cosey,
Slick Rick,
The Remains,
Ralphi Rosario,
Todd Rundgren,
Barclay James Harvest,
Schoolly D,
The Dead C,
Donald Byrd,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.