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 Egypt and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bologna and Manchester.
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 Tom Verlaine 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 Bobby Sherman to the electroclash 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 The Fuzztones. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Altered Images,
Rufus Thomas,
Ultravox,
Fad Gadget,
World's Most,
UT,
Monks,
Liaisons Dangereuses,
The West Coast Pop Art Experimental Band,
the Swans,
Oppenheimer Analysis,
Cameo,
Eden Ahbez,
Kevin Saunderson,
Nik Kershaw,
KRS-One,
Robert Hood,
David McCallum,
LL Cool J,
Idris Muhammad,
Television Personalities,
Wighnomy Brothers & Robag Wruhme,
Oblivians,
Gang Starr,
Quando Quango,
Josef K,
Ultramagnetic MC's,
Dead Boys,
Fifty Foot Hose,
Gong,
Animal Collective,
the Sonics,
Con Funk Shun,
Alphaville,
Amon Düül II,
Ornette Coleman,
Eve St. Jones,
Japan,
Heavy D & The Boyz,
Grauzone,
The Selecter,
The Fortunes,
Janne Schatter,
Lebanon Hanover,
Ice-T,
John Cale,
The Cowsills,
Neil Young,
Bad Manners,
Chris Corsano,
AZ,
Louis and Bebe Barron,
Ponytail,
Delta 5,
The Associates,
The New Christs,
Larry & the Blue Notes,
Lucky Dragons,
Brand Nubian,
Angels of Light & Akron/Family,
The Smoke,
Newcleus, Newcleus, Newcleus, Newcleus.
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.