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 Tunisia and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Tokyo 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 guitar 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 Mighty Diamonds to the dance kids.
I played it at the Roxy.
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 Cheater Slicks. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Reuben Wilson,
Absolute Body Control,
H. Thieme,
Cybotron,
Derrick May,
Animal Collective,
The Fuzztones,
Jawbox,
Alice Coltrane,
The Detroit Cobras,
Howard Jones,
Roxette,
The Buckinghams,
Cal Tjader,
Sixth Finger,
Marshall Jefferson,
Mr. Review,
Eli Mardock,
Panda Bear,
Crispian St. Peters,
Simply Red,
Rosa Yemen,
Robert Wyatt,
Pantaleimon,
Archie Shepp,
Hasil Adkins,
Malaria!,
Ohio Players,
Ornette Coleman,
Eric Copeland,
Pierre Henry,
Monolake,
The Music Machine,
Larry & the Blue Notes,
Sound Behaviour,
Mad Mike,
Ultimate Spinach,
Faust,
CMW,
Sun Ra,
Super Lover Cee & Casanova Rud,
New Order,
Swell Maps,
Grandmaster Flash,
Godley & Creme,
Accadde A,
Bootsy Collins,
Thee Headcoats,
Freddie Wadling,
Pharoah Sanders,
Todd Terry,
The Men They Couldn't Hang,
The Motions,
Crash Course in Science,
Avey Tare,
Camouflage,
Pantytec,
Moebius,
Heaven 17,
The Cramps,
Flash Fearless,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.