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 Palau and from Lyon.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Calgary and Spokane.
I'm losing my edge to the art-school Seoul 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 New Age Steppers to the rap 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 Gary Puckett & The Union Gap. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
The Cowsills,
Althea and Donna,
Stetsasonic,
The Slits,
Letta Mbulu,
EPMD,
The Durutti Column,
Eddi Front,
Fad Gadget,
Avey Tare's Slasher Flicks,
Severed Heads,
Audionom,
Nas,
Stockholm Monsters,
Average White Band,
Sad Lovers and Giants,
Pussy Galore,
Pylon,
Colin Newman,
Siouxsie and the Banshees,
Deepchord,
The Beau Brummels,
Q and Not U,
Zapp,
Vainqueur,
E-Dancer,
The United States of America,
Unrelated Segments,
David Axelrod,
Quantec,
Spoonie Gee,
Slave,
The Star Department,
Terry Callier,
The Index,
Marshall Jefferson,
Brick,
John Lydon,
Minny Pops,
Essential Logic,
Flipper,
X-Ray Spex,
Fatback Band,
Jacques Brel,
Model 500,
Ossler,
Hasil Adkins,
Nick Fraelich,
Yellowson,
Kool Moe Dee,
The Dave Clark Five,
The Five Americans,
Eve St. Jones,
Gerry Rafferty,
Thinking Fellers Union Local 282,
Notorious BIG live in Amsterdam,
Bush Tetras,
Avey Tare,
Boogie Down Productions,
Danielle Patucci,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.