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 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school London 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 guitar 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 Nick Fraelich to the funk kids.
I played it at the Crocodile.
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 Black Sheep. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Kool G Rap & DJ Polo,
Alison Limerick,
Brick,
Magazine,
Marcia Griffiths,
X-101,
Flamin' Groovies,
Orchestral Manoeuvres in the Dark,
Desert Stars,
Infiniti,
Jacob Miller,
Amon Düül II,
Lonnie Liston Smith,
Boredoms,
Yazoo,
The Angels of Light,
The Walker Brothers,
Lakeside,
Sun Ra,
Maurizio,
Agent Orange,
Popol Vuh,
Surgeon,
Young Marble Giants,
The Blackbyrds,
Rhythm & Sound,
Eric Copeland,
The New Christs,
Stetsasonic,
Yaz,
Piero Umiliani,
Faraquet,
Drive Like Jehu,
Richard Hell and the Voidoids,
Dennis Brown,
Pete Rock & C.L. Smooth,
Banda Bassotti,
Guru Guru,
Anakelly,
Sunsets and Hearts,
Lou Reed,
Parry Music,
Moebius,
Ponytail,
Pharoah Sanders,
Dorothy Ashby,
The Martian,
The Searchers,
Judy Mowatt,
Kevin Saunderson,
In Retrospect,
X-Ray Spex,
Peter and Kerry,
Stockholm Monsters,
Sister Nancy,
Soul Sonic Force,
Jerry's Kids,
Mandrill,
The Beau Brummels,
Camouflage,
Hashim,
Subhumans, Subhumans, Subhumans, Subhumans.
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.