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 Portugal and from Bologna.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Milan 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 harpsichord 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 Crispian St. Peters 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 Radio Birdman. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Kurtis Blow 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Qualms,
Thinking Fellers Union Local 282,
Selector Dub Narcotic,
the Swans,
Marcia Griffiths,
The Slits,
Mary Jane Girls,
Lungfish,
Chris Corsano,
The Motions,
Crime,
Bobbi Humphrey,
Zero Boys,
Captain Beefheart & His Magic Band,
The Dead C,
Young Marble Giants,
Stereo Dub,
Lee Hazlewood,
Malaria!,
The Modern Lovers,
Second Layer,
Colin Newman,
Arcadia,
UT,
Mission of Burma,
DJ Style,
DNA,
Sad Lovers and Giants,
The Vogues,
Kerri Chandler,
Bobby Hutcherson,
Scan 7,
the Human League,
Avey Tare,
Absolute Body Control,
Von Mondo,
The Cosmic Jokers,
Fad Gadget,
Curtis Mayfield,
Cybotron,
The Gladiators,
Make Up,
Aaron Thompson,
Glambeats Corp.,
Notorious BIG live in Amsterdam,
John Cale,
Isaac Hayes,
Fifty Foot Hose,
Dual Sessions,
Röyhkä ja Rättö ja Lehtisalo,
The Sound,
Quadrant,
Joyce Sims,
Jerry's Kids,
Bobby Sherman,
Eddi Front,
Toni Rubio,
Saccharine Trust,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.