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 Egypt and from Lagos.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Taipei and Delhi.
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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 The New Christs to the crunk kids.
I played it at the Troubador.
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 Siouxsie and the Banshees. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Suburban Knight 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 '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Drive Like Jehu,
Harpers Bizarre,
Andrew Ashong & Theo Parrish,
Mandrill,
Urselle,
Bang on a Can All-Stars,
The Count Five,
The Sound,
Subhumans,
Ornette Coleman,
KRS-One,
Derrick Morgan,
Suburban Knight,
Camberwell Now,
John Cale,
Scan 7,
Magma,
Roy Ayers Ubiquity,
Notorious BIG live in Amsterdam,
Malaria!,
Shoche,
Negative Approach,
Intrusion,
Deadbeat,
Mark Hollis,
The Standells,
Mad Mike,
Yaz,
Drexciya,
Sonny Sharrock,
Gil Scott-Heron and Jamie xx,
Jesper Dahlback,
Jimmy McGriff,
Siglo XX,
Heaven 17,
The Names,
Moby Grape,
Fugazi,
Junior Murvin,
The Fortunes,
Supertramp,
Slave,
Lungfish,
The Chocolate Watch Band,
Pierre Henry,
The Cowsills,
Youth Brigade,
The Remains,
Sun Ra,
Niagra,
Lindisfarne,
kango's stein massive,
Matthew Halsall,
Bobby Sherman,
Guru Guru,
Ultimate Spinach,
Amon Düül II,
The Alarm Clocks,
Mars,
Funkadelic,
The Saints,
DeepChord presents Echospace,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.