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 Djibouti and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Philadelphia.
I'm losing my edge to the art-school Lille 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Black Moon to the dance kids.
I played it at the 40 Watt.
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 Gang of Four. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Joe Smooth 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Gang Starr,
Gang of Four,
Nico,
Robert Görl,
Sam Rivers,
Pulsallama,
L. Decosne,
Hasil Adkins,
Delta 5,
The Mummies,
Tom Boy,
Animal Collective,
The Blackbyrds,
Delon & Dalcan,
Public Image Ltd.,
Gil Scott-Heron & Brian Jackson,
New Age Steppers,
FM Einheit,
Agitation Free,
A Flock of Seagulls,
DNA,
Rowland S Howard / Lydia Lunch,
Arthur Verocai,
Thinking Fellers Union Local 282,
Black Sheep,
The Shadows of Knight,
Prince Buster,
John Cale,
The Knickerbockers,
The Kinks,
Jesper Dahlbäck,
Q65,
The Sound,
Gichy Dan,
Aaron Thompson,
Trumans Water,
Oneida,
The Trojans,
Slave,
The Chocolate Watch Band,
Shuggie Otis,
Surgeon,
Lou Reed & John Cale,
Excepter,
Reagan Youth,
Sällskapet,
Richard Hell and the Voidoids,
The Detroit Cobras,
Charles Mingus,
Ken Boothe,
The Sonics,
Kenny Larkin,
The Gap Band,
Average White Band,
D'Angelo,
Tim Buckley,
Eli Mardock,
Kool G Rap & DJ Polo,
Dead Boys,
Boz Scaggs,
Lee Hazlewood,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.