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 Moldova and from Philadelphia.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Manila 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Lizzy Mercier Descloux to the funk kids.
I played it at the Astoria.
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 the Swans. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Swans,
Camberwell Now,
Flash Fearless,
Barclay James Harvest,
Newcleus,
Glambeats Corp.,
The Fugs,
Grandmaster Flash and the Furious Five,
Fugazi,
Bang On A Can,
Sight & Sound,
Roxy Music,
Beasts of Bourbon,
Lungfish,
Gastr Del Sol,
Kerri Chandler,
the Germs,
Sixth Finger,
Babytalk,
Crispy Ambulance,
Johnny Clarke,
Au Pairs,
The Flesh Eaters,
Boz Scaggs,
Alton Ellis,
The Star Department,
James Chance & The Contortions,
Don Cherry,
Can,
Jerry Gold Smith,
Severed Heads,
JFA,
the Swans,
The Raincoats,
New York Dolls,
Magazine,
Jesper Dahlback,
Groovy Waters,
the Sonics,
The Five Americans,
Section 25,
Dead Boys,
Robert Hood,
Mad Mike,
Scan 7,
Thinking Fellers Union Local 282,
Magma,
Al Stewart,
The Names,
Tears for Fears,
Hoover,
Sunsets and Hearts,
The Victims,
FM Einheit,
Darondo,
Inner City,
The Moleskins,
Ultimate Spinach,
Surgeon,
The Happenings,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.