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 Macedonia and from Delhi.
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 1967 to 1971.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Calgary 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator 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 This Heat to the disco 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 Silicon Teens. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
The Moleskins,
Bang On A Can,
Juan Atkins,
Sister Nancy,
Kaleidoscope,
Rosa Yemen,
Lindisfarne,
Interpol,
The Moody Blues,
Mandrill,
Skaos,
Boz Scaggs,
Marine Girls,
The Last Poets,
Kenny Larkin,
Derrick May,
Stetsasonic,
John Holt,
The Skatalites,
Second Layer,
the Germs,
Fad Gadget,
Skarface,
Masters at Work,
Cymande,
Vaughan Mason & Crew,
Minnie Riperton,
Yusef Lateef,
10cc,
Morten Harket,
Stockholm Monsters,
Nation of Ulysses,
Girls At Our Best!,
Agent Orange,
Nik Kershaw,
Albert Ayler,
Crime,
Royal Trux,
Brand Nubian,
Isaac Hayes,
Sexual Harrassment,
Sight & Sound,
Alton Ellis,
Harpers Bizarre,
Bootsy Collins,
Fort Wilson Riot,
Delon & Dalcan,
The Grass Roots,
Pantaleimon,
Piero Umiliani,
Black Moon,
The West Coast Pop Art Experimental Band,
Nas,
Sun Ra Arkestra,
Gang of Four,
The Modern Lovers,
Jimmy McGriff,
The Durutti Column,
DeepChord presents Echospace,
The Offenders, The Offenders, The Offenders, The Offenders.
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.