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 Lyon.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1965 to 1974.
I'm losing my edge.
To all the kids in Bremen and Delhi.
I'm losing my edge to the art-school Bologna 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 guitar sounds with much patience.
I was there when David Bowie 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 Kas Product to the punk 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 Albert Ayler. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
a-ha,
Subhumans,
Rakim,
Monks,
Jandek,
The Gladiators,
Yellowson,
Flipper,
The Names,
Skriet,
Traffic Nightmare,
The Angels of Light,
Joe Smooth,
Monolake,
Andrew Hill,
Brass Construction,
Sister Nancy,
The Chocolate Watch Band,
Rod Modell,
The United States of America,
Lalann,
Soft Cell,
R.M.O.,
Suicide,
Connie Case,
Siglo XX,
Harmonia,
The Fall,
Archie Shepp,
Donny Hathaway,
Cybotron,
The Fortunes,
Girls At Our Best!,
Pere Ubu,
Sparks,
Porter Ricks,
T. Rex,
Kauko Röyhkä ja Narttu,
Main Source,
Pharaoh Sanders and the Fire Engines,
Wighnomy Brothers & Robag Wruhme,
Youth Brigade,
Sam Rivers,
The Misunderstood,
Faust,
Motorama,
Slave,
The Seeds,
Bizarre Inc.,
Sight & Sound,
The Monochrome Set,
Shoche,
Harry Pussy,
Jeff Lynne,
Marmalade,
Derrick Morgan,
Ronnie Foster,
Q and Not U,
Banda Bassotti,
The Toasters,
Pantytec,
Intrusion,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.