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 France and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Philadelphia and Salvador.
I'm losing my edge to the art-school Columbus 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Moleskins to the jazz kids.
I played it at CBGB's.
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 Cecil Taylor. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Theoretical Girls,
Byron Stingily,
The Count Five,
Soulsonic Force,
Drexciya,
Visage,
Yellowson,
Jacques Brel,
Basic Channel,
AZ,
Mad Mike,
The Offenders,
Slave,
Zero Boys,
Pagans,
Glenn Branca,
The Fuzztones,
Wally Richardson,
Derrick May,
Smog,
Robert Görl,
Q and Not U,
Cecil Taylor,
Marshall Jefferson,
Manfred Mann's Earth Band,
Television,
The Zeros,
Cal Tjader,
Black Bananas,
Mr. Review,
Warsaw,
Panda Bear,
Cheater Slicks,
Sad Lovers and Giants,
the Swans,
Ituana,
The Searchers,
Louis and Bebe Barron,
Scan 7,
Crash Course in Science,
Jerry's Kids,
Hoover,
Patti Smith,
the Slits,
Nils Olav,
L. Decosne,
CMW,
Tres Demented,
The Remains,
Jandek,
A Flock of Seagulls,
Supertramp,
The West Coast Pop Art Experimental Band,
Ultimate Spinach,
Hardrive,
Chris Corsano,
Black Moon,
Thee Headcoats,
The Real Kids,
The Grass Roots,
Super Lover Cee & Casanova Rud,
Erykah Badu,
The Last Poets,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.