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 Solomon Islands and from Tehran.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Taipei.
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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Oppenheimer Analysis to the dance kids.
I played it at the Spitz.
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 10cc. All the underground hits.
All Technova tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Bang On A Can,
Agitation Free,
Bad Manners,
Sällskapet,
Slave,
Aural Exciters,
Cabaret Voltaire,
Sarah Menescal,
Camouflage,
Arab on Radar,
Kool G Rap & DJ Polo,
Amon Düül,
Trumans Water,
The Monks,
Siouxsie and the Banshees,
Lebanon Hanover,
Surgeon,
Mad Mike,
DJ Sneak,
Jawbox,
the Normal,
Bronski Beat,
Talk Talk,
Agent Orange,
K-Klass,
Deepchord,
Ossler,
Electric Prunes,
the Association,
Minor Threat,
Laurel Aitken,
Pharoah Sanders,
Bauhaus,
Big Daddy Kane,
The West Coast Pop Art Experimental Band,
Fad Gadget,
Red Lorry Yellow Lorry,
Vainqueur,
Little Man,
Lafayette Afro Rock Band,
Japan,
Sam Rivers,
The Dave Clark Five,
The Seeds,
Robert Görl,
The Fire Engines,
Black Sheep,
Rahsaan Roland Kirk,
Ralphi Rosario,
Graham Central Station,
Radiohead,
China Crisis,
The Doors,
Nik Kershaw,
Gastr Del Sol,
Justin Hinds & The Dominoes,
Anakelly,
Pet Shop Boys,
Amon Düül II,
Rites of Spring,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.