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 Peru and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb 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 Charles Mingus to the rock kids.
I played it at Trash.
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 Pere Ubu. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Notorious BIG live in Amsterdam,
The Pretty Things,
Black Flag,
Nick Cave & The Bad Seeds,
Von Mondo,
The Tremeloes,
Todd Terry,
The Raincoats,
Eli Mardock,
The Divine Comedy,
Isaac Hayes,
Frankie Knuckles,
Oneida,
Supertramp,
Fort Wilson Riot,
The Residents,
Sad Lovers and Giants,
Mandrill,
New York Dolls,
ABC,
Wolf Eyes,
Michelle Simonal,
Eurythmics,
Roy Ayers Ubiquity,
Hasil Adkins,
Schoolly D,
The Black Dice,
Qualms,
Pagans,
Infiniti,
Yaz,
Underground Resistance,
Dead Boys,
The Zeros,
Thee Headcoats,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Unrelated Segments,
Shoche,
Scratch Acid,
Guru Guru,
Blancmange,
Sister Nancy,
Stiv Bators,
Adolescents,
Quando Quango,
Eric Dolphy,
Robert Wyatt,
Jawbox,
Icehouse,
Terrestrial Tones,
Easy Going,
Minutemen,
Andrew Hill,
Amon Düül II,
Brass Construction,
Sound Behaviour,
The Techniques,
Laurel Aitken,
Radiohead,
Patti Smith,
The Seeds,
Sunsets and Hearts,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.