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 Antigua and from New York.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school Seoul 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 1976 at the first Chic practice in a loft in New York.
I was working on the sitar 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 Sight & Sound to the punk 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 X-102. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Ultimate Spinach 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Gary Puckett & The Union Gap,
Angels of Light & Akron/Family,
Scrapy,
Pharoah Sanders,
Soft Machine,
The Residents,
Eric Copeland,
Don Cherry,
Connie Case,
Siouxsie and the Banshees,
Letta Mbulu,
Derrick May,
The Martian,
Gabor Szabo,
Electric Prunes,
Black Flag,
Masters at Work,
Visage,
B.T. Express,
Dave Gahan,
Ash Ra Tempel,
Gastr Del Sol,
Jesper Dahlback,
Leonard Cohen,
Main Source,
Kerri Chandler,
the Sonics,
Wolf Eyes,
Ituana,
Royal Trux,
Marc Almond,
Bush Tetras,
Au Pairs,
Gang Green,
Unrelated Segments,
The Evens,
Max Romeo,
Lou Reed & John Cale,
Minny Pops,
Super Lover Cee & Casanova Rud,
Thee Headcoats,
The Names,
Buzzcocks,
Crispian St. Peters,
The Raincoats,
Joensuu 1685,
Warsaw,
Sad Lovers and Giants,
Siglo XX,
The Last Poets,
KRS-One,
Amon Düül,
Ponytail,
Kango’s Stein Massive,
Michelle Simonal,
Neil Young,
Grauzone,
MDC,
The West Coast Pop Art Experimental Band,
Rakim,
Mandrill,
Sex Pistols,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.