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 Cyprus and from Toronto.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Calgary and Mexico City.
I'm losing my edge to the art-school Houston 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the sitar 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 Graham Central Station to the electroclash 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 Lower 48. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Robert Wyatt,
Bush Tetras,
Avey Tare,
The Smiths,
Grauzone,
T. Rex,
Quando Quango,
Gichy Dan,
Jimmy McGriff,
Brass Construction,
Barry Ungar,
Gian Franco Pienzio,
Deutsch Amerikanische Freundschaft,
Selector Dub Narcotic,
The Men They Couldn't Hang,
Röyhkä ja Rättö ja Lehtisalo,
the Association,
The Fuzztones,
The Gap Band,
U.S. Maple,
Average White Band,
Eurythmics,
Rhythim Is Rhythim,
Crispian St. Peters,
Mars,
Das Ding,
Audionom,
Swans,
Marc Almond,
Jawbox,
Wire,
The Gun Club,
Bobby Sherman,
Camron Feat. Jay Z And Juelz,
Animal Collective,
Neu!,
Wolf Eyes,
Nick Cave & The Bad Seeds,
X-Ray Spex,
The Fire Engines,
Yazoo,
Terror Squad Feat. Camron,
Mark Hollis,
Stereo Dub,
Tim Buckley,
Soul Sonic Force,
Panda Bear,
Wasted Youth,
The Detroit Cobras,
Minutemen,
Brick,
Notorious Big And Bone Thugs,
Talk Talk,
Rufus Thomas,
Kurtis Blow,
Black Sheep,
The Blues Magoos,
Crime,
Boz Scaggs,
The Electric Prunes,
Faraquet,
Rotary Connection,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.