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 Kenya and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Manchester and Cairo.
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 linndrum 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 Roy Ayers to the crunk 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 Agent Orange. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Mark Hollis,
Scrapy,
Flipper,
Gregory Isaacs,
Bizarre Inc.,
Dead Boys,
Ice-T,
Marshall Jefferson,
Marcia Griffiths,
Quando Quango,
Blake Baxter,
Black Bananas,
Crispy Ambulance,
Camberwell Now,
Teenage Jesus and the Jerks,
Piero Umiliani,
Slave,
Neu!,
Brand Nubian,
Sarah Menescal,
Terrestrial Tones,
Bang on a Can All-Stars,
Sad Lovers and Giants,
Tropical Tobacco,
the Bar-Kays,
Buzzcocks,
Curtis Mayfield,
Tears for Fears,
Dual Sessions,
Motorama,
Royal Trux,
Dawn Penn,
Average White Band,
This Heat,
Sticky Fingaz feat. Raekwon,
The Remains,
Nick Fraelich,
Moebius,
The Trojans,
Ken Boothe,
The Birthday Party,
Qualms,
L. Decosne,
Eve St. Jones,
Bush Tetras,
Half Japanese,
Eddi Front,
Grandmaster Flash,
The Last Poets,
The Dirtbombs,
Cabaret Voltaire,
X-101,
Cluster,
The Stooges,
Lakeside,
Clear Light,
Public Image Ltd.,
Gong,
Reagan Youth,
Fear,
Morten Harket,
Thinking Fellers Union Local 282,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.