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 Mumbai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Delhi and Woodstock.
I'm losing my edge to the art-school Columbus 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 theremin 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 Banda Bassotti to the jazz 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 The Raincoats. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
John Lydon,
Sandy B,
Spandau Ballet,
The Durutti Column,
Arthur Verocai,
Josef K,
Procol Harum,
Kerri Chandler,
Sarah Menescal,
Scott Walker + Sunn O))),
The West Coast Pop Art Experimental Band,
Hashim,
Suicide,
Pole,
Roy Ayers,
Grauzone,
Zero Boys,
Kenny Larkin,
Joy Division,
The Neon Judgement,
The Peanut Butter Conspiracy,
Magazine,
Suburban Knight,
Saccharine Trust,
Liliput,
Kas Product,
Gang Starr,
New Age Steppers,
Kerrie Biddell,
MDC,
The Raincoats,
Gary Puckett & The Union Gap,
The Fortunes,
Glenn Branca,
Country Teasers,
Röyhkä ja Rättö ja Lehtisalo,
Lou Reed,
Archie Shepp,
The Vogues,
Hot Snakes,
Bizarre Inc.,
Joensuu 1685,
Scratch Acid,
The Names,
David Axelrod,
Can,
The Smiths,
Lower 48,
Harmonia,
Crime,
Neu!,
Ralphi Rosario,
Fluxion,
Audionom,
the Association,
Eli Mardock,
Wally Richardson,
Rekid,
Steve Hackett,
Sun Ra Arkestra,
Flipper,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.