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 Peru and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1976.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school Salvador 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 organ 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 Red Lorry Yellow Lorry to the dance 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 Nation of Ulysses. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Kaleidoscope 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Roxy Music,
Scrapy,
Hoover,
Avey Tare & Kría Brekkan,
Deadbeat,
Albert Ayler,
Bad Manners,
Captain Beefheart & His Magic Band,
Slave,
Soul Sonic Force,
Lee Hazlewood,
Lalann,
The Alarm Clocks,
Stiv Bators,
Manfred Mann's Earth Band,
L. Decosne,
Arthur Verocai,
June Days,
Eric Copeland,
Boz Scaggs,
Deepchord,
Rhythim Is Rhythim,
The Red Krayola,
A Certain Ratio,
Sonny Sharrock,
In Retrospect,
Stetsasonic,
MC5,
Flipper,
Crispian St. Peters,
Mars,
Yazoo,
Oppenheimer Analysis,
Sugar Minott,
The Gories,
The Trojans,
Erasure,
The Litter,
Dennis Brown,
the Fania All-Stars,
Janne Schatter,
Louis and Bebe Barron,
Procol Harum,
Kings Of Tomorrow,
Nation of Ulysses,
Thinking Fellers Union Local 282,
Man Parrish,
Terror Squad Feat. Camron,
Eyeless In Gaza,
Avey Tare,
Boogie Down Productions,
Ralphi Rosario,
Peter and Kerry,
Pharoah Sanders,
the Association,
Pulsallama,
Stereo Dub,
Sixth Finger,
Shuggie Otis,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.