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 Botswana and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Lille and Accra.
I'm losing my edge to the art-school Bremen 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 organ sounds with much patience.
I was there when David Bowie 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 Severed Heads to the grunge 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 Alison Limerick. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Fela Kuti record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Nirvana,
Tom Boy,
Dual Sessions,
Basic Channel,
Graham Central Station,
Depeche Mode,
Gang Gang Dance,
X-102,
Can,
The Blues Magoos,
David McCallum,
June of 44,
Sound Behaviour,
Max Romeo,
The Men They Couldn't Hang,
Sex Pistols,
Nick Fraelich,
Sight & Sound,
Barry Ungar,
Brick,
Clear Light,
The Star Department,
Ohio Players,
Pete Rock & C.L. Smooth,
Larry & the Blue Notes,
The Gap Band,
Eurythmics,
Skaos,
Harmonia,
Gang of Four,
Nas,
Wings,
Liliput,
Wasted Youth,
Bizarre Inc.,
Jerry's Kids,
Inner City,
48th St. Collective,
Boogie Down Productions,
Eden Ahbez,
Albert Ayler,
Lyres,
Don Cherry,
H. Thieme,
Isaac Hayes,
The Golliwogs,
Oppenheimer Analysis,
Electric Light Orchestra,
Peter and Kerry,
Mantronix,
Brothers Johnson,
The Standells,
Saccharine Trust,
Kings Of Tomorrow,
Bang on a Can All-Stars,
Trumans Water,
Ronnie Foster,
Youth Brigade,
Nils Olav,
The Names,
Rufus Thomas,
Monolake, Monolake, Monolake, Monolake.
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.