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 Libya and from Tehran.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Columbus and Milan.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 Todd Rundgren to the crunk 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 Teenage Jesus and the Jerks. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
The Modern Lovers,
Throbbing Gristle,
Television,
Interpol,
Hasil Adkins,
The United States of America,
Peter & Gordon,
Eric Dolphy,
Quantec,
The Neon Judgement,
Glambeats Corp.,
Delon & Dalcan,
Wolf Eyes,
Manfred Mann's Earth Band,
Sound Behaviour,
Smog,
Buzzcocks,
Marine Girls,
Average White Band,
Duran Duran,
Gary Puckett & The Union Gap,
the Fania All-Stars,
Faraquet,
Robert Görl,
Minor Threat,
Jacques Brel,
Echo & the Bunnymen,
Pulsallama,
The Detroit Cobras,
Deutsch Amerikanische Freundschaft,
Laurel Aitken,
Terrestrial Tones,
Minny Pops,
Orchestral Manoeuvres in the Dark,
Sandy B,
Loose Ends,
Little Man,
Avey Tare,
The Electric Prunes,
The Mummies,
The Victims,
Drexciya,
Roy Ayers,
These Immortal Souls,
World's Most,
David McCallum,
Wally Richardson,
Bob Dylan,
Cheater Slicks,
Ultra Naté,
Desert Stars,
The Fall,
DNA,
Kas Product,
It's A Beautiful Day,
Symarip,
Charles Mingus,
Lee Hazlewood,
Soft Cell,
Supertramp,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.