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 Bhutan and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Milan and Lagos.
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 guitar sounds with much patience.
I was there when Lou Reed 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 Lonnie Liston Smith to the rap kids.
I played it at the Roxy.
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 Minny Pops. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every The Pretty Things 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Faraquet,
Nick Cave & The Bad Seeds,
Soft Machine,
Avey Tare's Slasher Flicks,
Scratch Acid,
Amazonics,
The Fuzztones,
E-Dancer,
Cybotron,
Stetsasonic,
Masters at Work,
Little Man,
Absolute Body Control,
Sly & The Family Stone,
Young Marble Giants,
Ornette Coleman,
Boogie Down Productions,
The Buckinghams,
Theoretical Girls,
The West Coast Pop Art Experimental Band,
The Music Machine,
Marc Almond,
Bad Manners,
The Motions,
Graham Central Station,
Bill Near,
The Real Kids,
Joe Finger,
Susan Cadogan,
Dual Sessions,
Aswad,
Pet Shop Boys,
Eric Dolphy,
Andrew Hill,
48th St. Collective,
the Sonics,
The Gap Band,
Pussy Galore,
Talk Talk,
Supertramp,
Severed Heads,
The Angels of Light,
R.M.O.,
AZ,
Manfred Mann's Earth Band,
Nation of Ulysses,
Bill Wells,
Mandrill,
Eric B and Rakim,
Gian Franco Pienzio,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lizzy Mercier Descloux,
Rod Modell,
The Remains,
Lalann,
Man Eating Sloth,
Ultra Naté,
Ice-T,
H. Thieme,
Outsiders,
DNA,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.