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 Tonga and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
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 synthesizer 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 Charles Mingus to the techno 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 Pagans. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Sun Ra,
Spandau Ballet,
Ohio Players,
Mantronix,
The Toasters,
John Holt,
the Germs,
Roxy Music,
Wire,
Bobby Sherman,
The United States of America,
The Divine Comedy,
The Index,
The Leaves,
ABBA,
Matthew Bourne,
Schoolly D,
The Stooges,
The Trojans,
Cybotron,
The Invisible,
Massinfluence,
Angry Samoans,
Average White Band,
Ken Boothe,
The Knickerbockers,
Joyce Sims,
Gong,
Nik Kershaw,
Johnny Clarke,
Eric B and Rakim,
Pantytec,
Susan Cadogan,
the Swans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Negative Approach,
Barbara Tucker,
Symarip,
Johnny Osbourne,
Lou Christie,
The Young Rascals,
Drexciya,
Todd Terry,
Electric Light Orchestra,
Gil Scott Heron,
Angels of Light & Akron/Family,
Avey Tare,
Sexual Harrassment,
Moby Grape,
Sparks,
Clear Light,
Bootsy's Rubber Band,
Charles Mingus,
Jacob Miller,
Jesper Dahlback,
The Cosmic Jokers,
Sex Pistols,
Fatback Band,
10cc,
The Mighty Diamonds,
Theoretical Girls,
Avey Tare & Kría Brekkan,
Donald Byrd,
Nirvana, Nirvana, Nirvana, Nirvana.
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.