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 Mozambique and from Cairo.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 Matthew Halsall to the jazz 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 Glenn Branca. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every B.T. Express 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Juan Atkins,
The Cowsills,
Fluxion,
Warsaw,
Hashim,
CMW,
Susan Cadogan,
Nils Olav,
Barclay James Harvest,
Dead Boys,
Ronan,
Heavy D & The Boyz,
Duran Duran,
Wire,
Eyeless In Gaza,
Gil Scott-Heron & Brian Jackson,
Rakim,
Johnny Osbourne,
Terrestrial Tones,
Oneida,
Cecil Taylor,
The Wake,
Dawn Penn,
cv313,
Zero Boys,
Neu!,
Vladislav Delay,
Desert Stars,
Glenn Branca,
Rhythm & Sound,
Ultravox,
Bush Tetras,
Drexciya,
Todd Rundgren,
Larry & the Blue Notes,
World's Most,
Grey Daturas,
Grauzone,
Morten Harket,
Amon Düül,
Nirvana,
The Pretty Things,
Monks,
Pharaoh Sanders and the Fire Engines,
Ituana,
Alison Limerick,
Moebius,
Blossom Toes,
Harpers Bizarre,
Soul Sonic Force,
The Names,
E-Dancer,
the Soft Cell,
Chrome,
Derrick May,
The Beau Brummels,
Electric Prunes,
The Kinks,
Spoonie Gee,
Gichy Dan,
10cc,
Kaleidoscope,
Ten City, Ten City, Ten City, Ten City.
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.