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 Nauru and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Stockholm and Winnipeg.
I'm losing my edge to the art-school Copenhagen 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 808 sounds with much patience.
I was there when Michael McDonald 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 The Techniques to the rock kids.
I played it at the Troubador.
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 Liliput. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
the Sonics,
Danielle Patucci,
New York Dolls,
Harpers Bizarre,
The West Coast Pop Art Experimental Band,
Rosa Yemen,
Black Bananas,
H. Thieme,
The Walker Brothers,
Massinfluence,
London Community Gospel Choir,
Tears for Fears,
Fad Gadget,
Lower 48,
T. Rex,
Teenage Jesus and the Jerks,
Peter Gordon & Love of Life Orchestra,
Red Lorry Yellow Lorry,
The Mighty Diamonds,
Country Teasers,
Big Daddy Kane,
The Cure,
Ponytail,
Black Moon,
Selector Dub Narcotic,
Gil Scott-Heron & Brian Jackson,
Sonic Youth,
The Angels of Light,
The Gories,
Soft Machine,
Vainqueur,
Arthur Verocai,
Deakin,
Country Joe & The Fish,
Stiv Bators,
Graham Central Station,
John Lydon,
The Black Dice,
Echospace,
Maleditus Sound,
Siglo XX,
Kauko Röyhkä ja Narttu,
Porter Ricks,
Cecil Taylor,
The American Breed,
Neil Young & Crazy Horse,
Dorothy Ashby,
Fort Wilson Riot,
The Wake,
Shuggie Otis,
E-Dancer,
Wolf Eyes,
Sun City Girls,
Nils Olav,
Ronan,
Marc Romboy vs. Booka Shade,
The Cramps,
Marmalade,
The Victims,
Young Marble Giants,
Kerrie Biddell,
Liliput,
Con Funk Shun,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.