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 Suriname and from New York.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet 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 Gil Scott Heron to the electroclash kids.
I played it at CBGB's.
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 Banda Bassotti. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Icehouse 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 a marimba and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
The Modern Lovers,
Wolf Eyes,
FM Einheit,
8 Eyed Spy,
The Vogues,
Laurel Aitken,
Sister Nancy,
The Smoke,
Goldenarms,
Letta Mbulu,
Depeche Mode,
Susan Cadogan,
Kayak,
John Coltrane,
Agent Orange,
Funkadelic,
Faraquet,
Subhumans,
The Human League,
Stiv Bators,
The Electric Prunes,
Gastr Del Sol,
The Pretty Things,
Pylon,
Minnie Riperton,
Joe Smooth,
Saccharine Trust,
Spandau Ballet,
Alton Ellis,
Kool Moe Dee,
Bluetip,
Cabaret Voltaire,
E-Dancer,
Rufus Thomas,
The Motions,
Mary Jane Girls,
Grandmaster Flash and the Furious Five,
Mr. Review,
Art Ensemble Of Chicago,
Suburban Knight,
Fat Boys,
Camouflage,
The Smiths,
The Invisible,
Jimmy McGriff,
DeepChord presents Echospace,
The United States of America,
Flamin' Groovies,
Max Romeo,
Piero Umiliani,
Toni Rubio,
Be Bop Deluxe,
Graham Central Station,
Glenn Branca,
Massinfluence,
Lou Reed & Metallica,
Monolake,
Ajijia Myrayebe,
The Slackers,
Roy Ayers,
Tropical Tobacco,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.