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 Netherlands and from Paris.
But I was there.
I was there in .
I was there at the first Suicide 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 1963 to 1975.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
I'm losing my edge to the art-school Jakarta 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Bobby Hutcherson to the punk kids.
I played it at the 40 Watt.
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 Crash Course in Science. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Joensuu 1685 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
The Fugs,
Delta 5,
Echospace,
The Selecter,
the Fania All-Stars,
Hasil Adkins,
Sarah Menescal,
Sixth Finger,
The Dead C,
Pete Rock & C.L. Smooth,
the Swans,
Mandrill,
Inner City,
Bootsy's Rubber Band,
Absolute Body Control,
The West Coast Pop Art Experimental Band,
Fatback Band,
The Jesus and Mary Chain,
Wire,
Ornette Coleman,
Cymande,
Urselle,
The Raincoats,
Boredoms,
ABC,
Michelle Simonal,
Adolescents,
Sound Behaviour,
Blancmange,
Chris & Cosey,
The Fortunes,
10cc,
The Slits,
Suicide,
The Zeros,
Rites of Spring,
Lafayette Afro Rock Band,
Malaria!,
June of 44,
Radio Birdman,
Organ,
Charles Mingus,
The Shadows of Knight,
The Techniques,
L. Decosne,
The Grass Roots,
Essential Logic,
Parry Music,
Make Up,
Janne Schatter,
Bobby Hutcherson,
The Flesh Eaters,
Wolf Eyes,
Warsaw,
Bluetip,
Soft Machine,
Quando Quango,
The Star Department,
Thee Headcoats,
The Dave Clark Five,
Pylon,
The Modern Lovers,
Derrick May,
Qualms, Qualms, Qualms, Qualms.
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.