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 Luxembourg and from Jakarta.
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 1966 to 1976.
I'm losing my edge.
To all the kids in London and Sao Paulo.
I'm losing my edge to the art-school Bremen 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 mellotron 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 Rotary Connection to the dance kids.
I played it at Cafe Wha.
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 Eyeless In Gaza. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Brass Construction 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 '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Sad Lovers and Giants,
Kango’s Stein Massive,
Country Joe & The Fish,
The Gap Band,
Harpers Bizarre,
Arthur Verocai,
Lungfish,
Erykah Badu,
The Moleskins,
Kerri Chandler,
Minnie Riperton,
Electric Light Orchestra,
Lou Reed & John Cale,
Loose Ends,
DJ Sneak,
Sun Ra,
Lightning Bolt,
The Monochrome Set,
Negative Approach,
Angels of Light & Akron/Family,
Japan,
Marshall Jefferson,
New York Dolls,
Quantec,
Laurel Aitken,
Khruangbin,
Kurtis Blow,
Bill Wells,
Little Man,
The Walker Brothers,
Camberwell Now,
Max Romeo,
Roxy Music,
Electric Prunes,
Sarah Menescal,
The Offenders,
Todd Rundgren,
the Sonics,
Mars,
Drexciya,
Eurythmics,
Peter Gordon & Love of Life Orchestra,
Sandy B,
Kool Moe Dee,
Bill Near,
Ten City,
Nils Olav,
Agent Orange,
Captain Beefheart & His Magic Band,
DJ Style,
Yazoo,
KRS-One,
Underground Resistance,
UT,
Matthew Bourne,
The Victims,
Matthew Halsall,
the Soft Cell,
X-102,
ABC,
Unwound, Unwound, Unwound, Unwound.
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.