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 Barbados and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Jakarta 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 rhodes 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 Porter Ricks to the electroclash 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 Urselle. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
DNA,
The Royal Family And The Poor,
Moss Icon,
It's A Beautiful Day,
Dead Boys,
Leonard Cohen,
Roy Ayers Ubiquity,
Massinfluence,
L. Decosne,
Pylon,
Neil Young & Crazy Horse,
Drive Like Jehu,
Grandmaster Flash and the Furious Five,
Scratch Acid,
the Slits,
Sound Behaviour,
Silicon Teens,
The Selecter,
Jacob Miller,
Shoche,
The Velvet Underground,
Nils Olav,
The Beau Brummels,
Minutemen,
Lower 48,
Joensuu 1685,
a-ha,
London Community Gospel Choir,
Half Japanese,
Lightning Bolt,
John Foxx,
Heaven 17,
Lafayette Afro Rock Band,
Mars,
Country Teasers,
kango's stein massive,
Minnie Riperton,
Cecil Taylor,
Delon & Dalcan,
Supertramp,
Altered Images,
Cybotron,
Eurythmics,
Super Lover Cee & Casanova Rud,
Amazonics,
Moby Grape,
Aswad,
Royal Trux,
Ken Boothe,
Kool Moe Dee,
Andrew Hill,
Joey Negro,
The Evens,
Morten Harket,
Organ,
Boz Scaggs,
Pere Ubu,
Max Romeo,
The Neon Judgement,
Echo & the Bunnymen,
Ossler, Ossler, Ossler, Ossler.
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.