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 Guatemala and from Manila.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1961 to 1972.
I'm losing my edge.
To all the kids in Madrid and Mumbai.
I'm losing my edge to the art-school Stockholm 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 linndrum 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 Drexciya to the dance 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 Q and Not U. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
The Velvet Underground,
Glambeats Corp.,
Scion,
Barry Ungar,
Michelle Simonal,
The Alarm Clocks,
Cameo,
The Dirtbombs,
Terror Squad Feat. Camron,
Juan Atkins,
Gil Scott-Heron and Jamie xx,
Robert Wyatt,
The Fire Engines,
Girls At Our Best!,
The West Coast Pop Art Experimental Band,
Sound Behaviour,
Ultravox,
Bizarre Inc.,
The American Breed,
Ronan,
Tres Demented,
Hashim,
Amon Düül,
Alison Limerick,
The Doors,
Anthony Braxton,
Von Mondo,
Sister Nancy,
Y Pants,
Brass Construction,
Scrapy,
Camouflage,
Duran Duran,
Spandau Ballet,
Bob Dylan,
Nik Kershaw,
8 Eyed Spy,
ABBA,
Sex Pistols,
The Detroit Cobras,
James White and The Blacks,
Liaisons Dangereuses,
Captain Beefheart & His Magic Band,
The Gladiators,
Moss Icon,
Hardrive,
Swell Maps,
Supertramp,
Orchestral Manoeuvres in the Dark,
Slick Rick,
Banda Bassotti,
Carl Craig,
Kango’s Stein Massive,
DNA,
The United States of America,
Oppenheimer Analysis,
Mission of Burma,
Procol Harum,
Aaron Thompson,
Man Eating Sloth,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.