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 Dominica and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Accra and Manchester.
I'm losing my edge to the art-school Toronto 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 sitar 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 Barrington Levy to the disco kids.
I played it at the Hacienda.
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 Bauhaus. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Niagra,
London Community Gospel Choir,
Spandau Ballet,
the Slits,
Tears for Fears,
Barbara Tucker,
Bootsy Collins,
Agent Orange,
MDC,
Franke,
Max Romeo,
Marmalade,
Donny Hathaway,
The Neon Judgement,
Nick Fraelich,
The Jesus and Mary Chain,
Bush Tetras,
E-Dancer,
The Saints,
Bizarre Inc.,
The Leaves,
48th St. Collective,
The Grass Roots,
Amazonics,
Bobby Sherman,
Wasted Youth,
Lee Hazlewood,
Desert Stars,
Terror Squad Feat. Camron,
Au Pairs,
Matthew Bourne,
Kango’s Stein Massive,
Inner City,
Half Japanese,
Beasts of Bourbon,
kango's stein massive,
Kaleidoscope,
ABC,
Deepchord,
One Last Wish,
Boz Scaggs,
Connie Case,
Avey Tare,
Arthur Verocai,
L. Decosne,
Vainqueur,
Gang Starr,
Pere Ubu,
UT,
Ultra Naté,
Bang on a Can All-Stars,
Ossler,
The Doors,
Bad Manners,
Man Parrish,
Roxy Music,
Mr. Review,
Bill Wells,
Sparks,
Soft Machine,
Swell Maps,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.