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 Paraguay and from Salvador.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1978.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Milan 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Monochrome Set to the dance kids.
I played it at the Hacienda.
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 Youth Brigade. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal dance 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 a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Talk Talk,
Avey Tare & Kría Brekkan,
Half Japanese,
De La Soul & Jungle Brothers,
Andrew Ashong & Theo Parrish,
Avey Tare,
The New Christs,
Eurythmics,
Gian Franco Pienzio,
The Royal Family And The Poor,
The Vogues,
Skaos,
Pere Ubu,
Gil Scott-Heron and Jamie xx,
The Names,
Soft Machine,
Lalann,
Camouflage,
Lou Reed,
Vladislav Delay,
Al Stewart,
The West Coast Pop Art Experimental Band,
DJ Style,
Television,
Smog,
Barbara Tucker,
Pylon,
Tubeway Army,
Soul II Soul,
Pole,
Niagra,
Liaisons Dangereuses,
The Men They Couldn't Hang,
John Lydon,
Rakim,
Aaron Thompson,
the Association,
Public Image Ltd.,
X-102,
Art Ensemble Of Chicago,
Alphaville,
The Gap Band,
Hashim,
Man Eating Sloth,
Selector Dub Narcotic,
Gary Puckett & The Union Gap,
Easy Going,
The Evens,
Gang of Four,
The Blues Magoos,
The Mummies,
Mr. Review,
Dead Boys,
the Human League,
Grandmaster Flash,
Metal Thangz,
a-ha,
Yaz,
Barrington Levy,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.