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 Lithuania and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Salvador 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 arpeggiator 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 Aural Exciters to the dance 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 Intrusion. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Cheater Slicks record on German import.
I heard that you have a white label of every seminal jazz 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 a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
Cybotron,
Gang Gang Dance,
Electric Light Orchestra,
Albert Ayler,
Ash Ra Tempel,
Eddi Front,
Donald Byrd,
Man Eating Sloth,
Black Moon,
Cecil Taylor,
The Cramps,
Organ,
Fluxion,
Liliput,
Porter Ricks,
DJ Style,
Peter & Gordon,
Von Mondo,
Iggy Pop,
Eric B and Rakim,
Arthur Verocai,
Donny Hathaway,
T.S.O.L.,
The Angels of Light,
Amon Düül II,
Crooked Eye,
Q and Not U,
The Monks,
Anthony Braxton,
Godley & Creme,
Rites of Spring,
Kayak,
The Sound,
The Young Rascals,
Lou Reed,
The Mighty Diamonds,
Joy Division,
Kevin Saunderson,
Ultimate Spinach,
The Birthday Party,
Bad Manners,
The Moleskins,
Barrington Levy,
Cal Tjader,
Jesper Dahlbäck,
Neil Young & Crazy Horse,
AZ,
Rod Modell,
Can,
The American Breed,
Lonnie Liston Smith,
The Divine Comedy,
Faraquet,
Gang Green,
New Order,
Lightning Bolt,
David Axelrod,
Nik Kershaw,
Lalo Schifrin,
Los Fastidios,
Stockholm Monsters,
Interpol, Interpol, Interpol, Interpol.
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.