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 Kenya and from Tokyo.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
I'm losing my edge to the art-school Mexico City 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 güiro 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 Intrusion to the techno 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 Gary Puckett & The Union Gap. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every The Gladiators 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
T.S.O.L.,
Nirvana,
EPMD,
Bizarre Inc.,
Joey Negro,
Procol Harum,
The Kinks,
Spandau Ballet,
Pierre Henry,
Y Pants,
The Happenings,
Bang On A Can,
48th St. Collective,
Minor Threat,
the Germs,
Tubeway Army,
Kenny Larkin,
Major Organ And The Adding Machine,
Peter and Kerry,
Jacques Brel,
Marc Romboy vs. Booka Shade,
Aaron Thompson,
Janne Schatter,
Black Flag,
Black Pus,
Nils Olav,
Echospace,
KRS-One,
Fat Boys,
Al Stewart,
Leonard Cohen,
Visage,
Hashim,
The Gun Club,
Soul Sonic Force,
The Sonics,
Essential Logic,
Rites of Spring,
Kayak,
Angry Samoans,
Minny Pops,
Shoche,
Barrington Levy,
Can,
The Tremeloes,
Lucky Dragons,
X-102,
Todd Rundgren,
Model 500,
Yellowson,
Dual Sessions,
London Community Gospel Choir,
Gastr Del Sol,
Avey Tare & Kría Brekkan,
Neu!,
The Offenders,
The Fuzztones,
Hoover,
The Fall,
The Associates,
Grey Daturas,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.