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 San Marino and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Lille 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 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 Pierre Henry to the electroclash 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 Stetsasonic. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Johnny Clarke,
The Last Poets,
Kerri Chandler,
Avey Tare & Kría Brekkan,
The Star Department,
Bang On A Can,
Joy Division,
Camouflage,
Al Stewart,
Tomorrow,
Radiohead,
Lalo Schifrin,
The Standells,
The Peanut Butter Conspiracy,
Suburban Knight,
Alison Limerick,
Marshall Jefferson,
Traffic Nightmare,
Average White Band,
Newcleus,
Lucky Dragons,
Angels of Light & Akron/Family,
Theoretical Girls,
Mars,
New Age Steppers,
Bronski Beat,
The Monochrome Set,
Agitation Free,
Joey Negro,
Susan Cadogan,
Flipper,
Man Parrish,
Minutemen,
Lightning Bolt,
Slave,
ABC,
Notorious BIG live in Amsterdam,
Q and Not U,
Cybotron,
The Vogues,
The Toasters,
Nation of Ulysses,
Sound Behaviour,
the Association,
the Bar-Kays,
Liliput,
Aural Exciters,
Janne Schatter,
Parry Music,
Lou Christie,
David Axelrod,
Johnny Osbourne,
OOIOO,
The Seeds,
Wolf Eyes,
Avey Tare,
Nik Kershaw,
The Residents,
Soft Machine,
Todd Rundgren,
Rowland S Howard / Lydia Lunch,
Eurythmics,
Boredoms,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.