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 Malaysia and from Seoul.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Mumbai.
I'm losing my edge to the art-school Toronto 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 theremin 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 Leonard Cohen to the techno kids.
I played it at CBGB's.
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 Thinking Fellers Union Local 282. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Tim Buckley,
Graham Central Station,
Brand Nubian,
Anakelly,
Patti Smith,
Eve St. Jones,
Ornette Coleman,
Pylon,
Marmalade,
This Heat,
ABBA,
Teenage Jesus and the Jerks,
The Invisible,
Sunsets and Hearts,
Yellowson,
James Chance & The Contortions,
Ash Ra Tempel,
Selector Dub Narcotic,
The Blues Magoos,
Easy Going,
Wire,
The Durutti Column,
Alice Coltrane,
Pierre Henry,
The Gories,
Nico,
David Bowie,
Lalo Schifrin,
Glenn Branca,
Lou Reed & John Cale,
Faust,
Boogie Down Productions,
Strawberry Alarm Clock,
June Days,
The Tremeloes,
Swans,
Clear Light,
Massinfluence,
Godley & Creme,
Alison Limerick,
Eric Copeland,
Heavy D & The Boyz,
Ossler,
Johnny Clarke,
The Techniques,
The Searchers,
Marshall Jefferson,
Soul II Soul,
Mo-Dettes,
Art Ensemble Of Chicago,
Pharaoh Sanders and the Fire Engines,
Lalann,
Max Romeo,
Absolute Body Control,
Royal Trux,
Ohio Players,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.