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 Antigua and from Seoul.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
I'm losing my edge to the art-school Glasgow 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Roy Ayers to the punk kids.
I played it at CBGB's.
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 Yellowson. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Lou Reed & John Cale,
Jesper Dahlback,
Andrew Hill,
Hashim,
Glenn Branca,
Gil Scott-Heron & Brian Jackson,
Schoolly D,
Charles Mingus,
PIL,
Rhythm & Sound,
Organ,
Japan,
Jawbox,
Danielle Patucci,
Aloha Tigers,
Rhythim Is Rhythim,
Lafayette Afro Rock Band,
Traffic Nightmare,
Lebanon Hanover,
The Monochrome Set,
Rites of Spring,
The Jesus and Mary Chain,
The Smiths,
the Bar-Kays,
Agent Orange,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Little Man,
Crooked Eye,
In Retrospect,
Iggy Pop,
Teenage Jesus and the Jerks,
Cameo,
New York Dolls,
The Index,
Massinfluence,
UT,
Mission of Burma,
New Age Steppers,
Gerry Rafferty,
The Flesh Eaters,
John Lydon,
Urselle,
Ronan,
Matthew Halsall,
Q and Not U,
The Skatalites,
Darondo,
Janne Schatter,
Rakim,
E-Dancer,
Infiniti,
Big Daddy Kane,
Heavy D & The Boyz,
The Gun Club,
Porter Ricks,
Blake Baxter,
Scrapy,
The Gap Band,
Das Ding,
Boz Scaggs,
Amazonics, Amazonics, Amazonics, Amazonics.
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.