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 Namibia and from Jakarta.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Delhi 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 at the first Suicide practice in a loft in New York.
I was working on the spring reverb 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 The Velvet Underground to the techno 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 Lightning Bolt. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal disco 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Moss Icon,
Pantaleimon,
Funkadelic,
The Beau Brummels,
Dual Sessions,
Masters at Work,
Jawbox,
Gil Scott-Heron & Brian Jackson,
Glambeats Corp.,
The Black Dice,
Jandek,
Peter Gordon & Love of Life Orchestra,
Eli Mardock,
Jeff Lynne,
Slick Rick,
Althea and Donna,
Main Source,
Kenny Larkin,
Ohio Players,
Brand Nubian,
Andrew Hill,
Maleditus Sound,
Aural Exciters,
Albert Ayler,
Marc Almond,
Eurythmics,
the Sonics,
Eve St. Jones,
Half Japanese,
Alison Limerick,
Ten City,
Nils Olav,
Rhythim Is Rhythim,
The Monochrome Set,
In Retrospect,
Saccharine Trust,
Junior Murvin,
D'Angelo,
Throbbing Gristle,
The Names,
The Raincoats,
Fifty Foot Hose,
Fat Boys,
Tim Buckley,
MDC,
Ultramagnetic MC's,
Moebius,
Crooked Eye,
It's A Beautiful Day,
Youth Brigade,
John Foxx,
Derrick May,
Kaleidoscope,
Lightning Bolt,
The West Coast Pop Art Experimental Band,
The New Christs,
Leonard Cohen,
Symarip,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.