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 France and from Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television 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 1966 to 1974.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
I'm losing my edge to the art-school Beijing 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes 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 AZ to the jazz kids.
I played it at the Troubador.
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 Graham Central Station. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Dark Day,
Deakin,
Rhythim Is Rhythim,
Louis and Bebe Barron,
Ronnie Foster,
Terrestrial Tones,
Howard Jones,
Black Moon,
Essential Logic,
Minnie Riperton,
Stetsasonic,
Grey Daturas,
Malaria!,
The Standells,
Major Organ And The Adding Machine,
Rhythm & Sound,
Massinfluence,
Bill Wells,
The Kinks,
The Buckinghams,
Reagan Youth,
Al Stewart,
Television,
Gary Puckett & The Union Gap,
Ultimate Spinach,
Frankie Knuckles,
Scan 7,
Echo & the Bunnymen,
Can,
The Peanut Butter Conspiracy,
the Swans,
The Associates,
Yusef Lateef,
Guru Guru,
The Durutti Column,
Rufus Thomas,
Aural Exciters,
The American Breed,
Bush Tetras,
Tom Boy,
The Red Krayola,
Danielle Patucci,
Surgeon,
Fatback Band,
The Moody Blues,
Gabor Szabo,
Warren Ellis,
Laurel Aitken,
CMW,
Los Fastidios,
The Invisible,
Cheater Slicks,
Lebanon Hanover,
Super Lover Cee & Casanova Rud,
Selector Dub Narcotic,
Soft Machine,
Pussy Galore,
Agent Orange,
Erasure,
JFA, JFA, JFA, JFA.
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.