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 United Kingdom and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Winnipeg 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 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 Terrestrial Tones to the jazz kids.
I played it at Trash.
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 Gil Scott Heron. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
David Bowie,
Quantec,
Fat Boys,
Radio Birdman,
Lou Reed,
John Lydon,
The Move,
Lyres,
PIL,
Neil Young,
Ten City,
Godley & Creme,
Donald Byrd,
The Count Five,
R.M.O.,
Magazine,
Zapp,
a-ha,
The Birthday Party,
The Gap Band,
Kerri Chandler,
Mark Hollis,
Cecil Taylor,
Desert Stars,
Vainqueur,
Junior Murvin,
Flash Fearless,
Judy Mowatt,
Delon & Dalcan,
Negative Approach,
Public Enemy,
Minnie Riperton,
Hot Snakes,
Can,
Pete Rock & C.L. Smooth,
In Retrospect,
The Durutti Column,
Yellowson,
Matthew Bourne,
Alison Limerick,
Eli Mardock,
The Standells,
The Leaves,
Robert Wyatt,
Ponytail,
Electric Light Orchestra,
Agitation Free,
Teenage Jesus and the Jerks,
Flipper,
Al Stewart,
Chris Corsano,
Boz Scaggs,
Sight & Sound,
Terror Squad Feat. Camron,
Anthony Braxton,
The Barracudas,
Soft Machine,
The Cure,
Wolf Eyes,
Lalo Schifrin, Lalo Schifrin, Lalo Schifrin, Lalo Schifrin.
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.