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 Guyana and from Tehran.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 organ 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 The Modern Lovers to the grime 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 Heaven 17. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
The J.B.'s,
Niagra,
The Names,
John Holt,
Fat Boys,
Masters at Work,
Todd Rundgren,
Bootsy's Rubber Band,
Bobby Byrd,
Lower 48,
John Lydon,
Donny Hathaway,
Malaria!,
Arthur Verocai,
Scrapy,
Pharoah Sanders,
DJ Style,
Bobby Sherman,
Sun Ra,
Jerry's Kids,
James White and The Blacks,
Dual Sessions,
Pantaleimon,
The Angels of Light,
The Mojo Men,
Jeff Mills,
Joyce Sims,
Scratch Acid,
Stereo Dub,
Royal Trux,
Unrelated Segments,
Red Lorry Yellow Lorry,
FM Einheit,
Sexual Harrassment,
The Searchers,
Whodini,
Fad Gadget,
Ultravox,
The Moody Blues,
The Zeros,
Lakeside,
Bizarre Inc.,
Underground Resistance,
June Days,
Funky Four + One,
The Dirtbombs,
In Retrospect,
Notorious Big And Bone Thugs,
Roger Hodgson,
Ituana,
Arcadia,
Spoonie Gee,
The Happenings,
Gregory Isaacs,
Echo & the Bunnymen,
La Düsseldorf,
Aloha Tigers,
Youth Brigade,
ABBA,
Ludus,
Orchestral Manoeuvres in the Dark,
Jerry Gold Smith,
X-101, X-101, X-101, X-101.
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.