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 France and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1978.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Bologna 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 Captain Beefheart 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 Subhumans to the techno 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 Bang on a Can All-Stars. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Avey Tare's Slasher Flicks,
Eden Ahbez,
Robert Hood,
Heaven 17,
Ultravox,
Technova,
Organ,
Bauhaus,
Popol Vuh,
Rotary Connection,
Rod Modell,
The Happenings,
Banda Bassotti,
Curtis Mayfield,
the Bar-Kays,
Soulsonic Force,
Ponytail,
Graham Central Station,
The Moleskins,
F. McDonald,
Massinfluence,
Gastr Del Sol,
Barry Ungar,
John Lydon,
Bang On A Can,
Boogie Down Productions,
Lou Christie,
Boz Scaggs,
Lower 48,
Lizzy Mercier Descloux,
Audionom,
Albert Ayler,
Liaisons Dangereuses,
Aloha Tigers,
The Detroit Cobras,
Inner City,
Skarface,
Gabor Szabo,
Red Lorry Yellow Lorry,
Thompson Twins,
LL Cool J,
Country Joe & The Fish,
Quantec,
Ohio Players,
Bush Tetras,
Lou Reed & John Cale,
Wolf Eyes,
Minutemen,
The Fugs,
Surgeon,
Accadde A,
Jeff Lynne,
Rhythim Is Rhythim,
Eurythmics,
Major Organ And The Adding Machine,
Funky Four + One,
Vainqueur,
DeepChord presents Echospace,
Dawn Penn,
De La Soul & Jungle Brothers,
Public Image Ltd.,
The Index,
Niagra,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.