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 Fiji and from Portland.
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 1973.
I'm losing my edge.
To all the kids in Stockholm and London.
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 spring reverb 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 The Smoke to the grime 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 Faraquet. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Animal Collective,
The Smoke,
Spoonie Gee,
the Bar-Kays,
Arthur Verocai,
Magma,
The Litter,
The Fire Engines,
Inner City,
Black Bananas,
Thee Headcoats,
Alison Limerick,
Rekid,
Traffic Nightmare,
The Moleskins,
Blake Baxter,
Guru Guru,
the Swans,
June Days,
Andrew Ashong & Theo Parrish,
A Flock of Seagulls,
The Gories,
Todd Rundgren,
Dorothy Ashby,
Echospace,
Banda Bassotti,
The Angels of Light,
Bootsy Collins,
F. McDonald,
Quadrant,
Bill Wells,
Sandy B,
Easy Going,
Kauko Röyhkä ja Narttu,
Bad Manners,
The New Christs,
Anakelly,
Avey Tare & Kría Brekkan,
Brothers Johnson,
Lalo Schifrin,
Radiohead,
Lower 48,
The Pop Group,
Mr. Review,
Outsiders,
Louis and Bebe Barron,
UT,
Orchestral Manoeuvres in the Dark,
Gabor Szabo,
kango's stein massive,
Tubeway Army,
Sound Behaviour,
Girls At Our Best!,
Aural Exciters,
the Normal,
Radiopuhelimet,
Motorama,
Junior Murvin,
Godley & Creme,
Stetsasonic,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.