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 Madagascar and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school New York 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 Lou Reed 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 Marcia Griffiths to the funk kids.
I played it at the Crocodile.
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 Bill Wells. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Ornette Coleman,
B.T. Express,
Kauko Röyhkä ja Narttu,
Drive Like Jehu,
China Crisis,
Blake Baxter,
E-Dancer,
Ituana,
Yaz,
Pharoah Sanders,
Strawberry Alarm Clock,
Camberwell Now,
Chrome,
Eric B and Rakim,
Amazonics,
Trumans Water,
Monolake,
This Heat,
Nils Olav,
Todd Rundgren,
Sad Lovers and Giants,
Morten Harket,
Minutemen,
Amon Düül,
Lee Hazlewood,
the Swans,
The American Breed,
Absolute Body Control,
Joensuu 1685,
Al Stewart,
ABBA,
The Pop Group,
The Trojans,
Pharaoh Sanders and the Fire Engines,
Jerry Gold Smith,
Crime,
Lou Christie,
X-102,
L. Decosne,
Severed Heads,
Duran Duran,
Rites of Spring,
The Gladiators,
MDC,
Porter Ricks,
Main Source,
Archie Shepp,
Liaisons Dangereuses,
Basic Channel,
Rapeman,
Gil Scott Heron,
Throbbing Gristle,
EPMD,
Supertramp,
Adolescents,
Sixth Finger,
Newcleus,
Visionaries,LMNO, T- Love & Iriscience,
John Coltrane,
Marcia Griffiths,
Animal Collective,
Minny Pops,
Gang Green,
the Association, the Association, the Association, the Association.
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.