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 Guinea-Bissau and from Copenhagen.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord 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 Marvin Gaye to the funk kids.
I played it at the Astoria.
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 Soul II Soul. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod 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?
The Litter,
Pylon,
La Düsseldorf,
Hoover,
Grey Daturas,
Lalo Schifrin,
Marc Romboy vs. Booka Shade,
Country Teasers,
Talk Talk,
Aaron Thompson,
Youth Brigade,
One Last Wish,
The Black Dice,
Arcadia,
World's Most,
Isaac Hayes,
The Slits,
The Busters,
Alison Limerick,
Harmonia,
Quadrant,
This Heat,
Rapeman,
Scott Walker,
The Fugs,
Suicide,
Hardrive,
Big Daddy Kane,
Stereo Dub,
Television Personalities,
X-102,
Altered Images,
Orchestral Manoeuvres in the Dark,
Bang On A Can,
New Age Steppers,
The Buckinghams,
Fort Wilson Riot,
Charles Mingus,
Amon Düül II,
The Mojo Men,
Mars,
The Red Krayola,
The Offenders,
A Certain Ratio,
the Sonics,
Kenny Larkin,
Lalann,
Robert Görl,
Spoonie Gee,
DJ Style,
Byron Stingily,
Gabor Szabo,
The Move,
The Saints,
Morten Harket,
Liaisons Dangereuses,
Lindisfarne,
Steve Hackett,
Mark Hollis,
Qualms,
The Mummies,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.