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 Morocco and from Madrid.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Edmonton and Winnipeg.
I'm losing my edge to the art-school Edmonton 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 Robert Hood to the rap kids.
I played it at the Astoria.
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 The Misunderstood. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
The Victims,
The Electric Prunes,
Gian Franco Pienzio,
Black Sheep,
Kayak,
Alton Ellis,
Maurizio,
Henry Cow,
Harmonia,
Marc Romboy vs. Booka Shade,
Juan Atkins,
Sam Rivers,
Jerry Gold Smith,
The United States of America,
E-Dancer,
World's Most,
Connie Case,
Tropical Tobacco,
Gang Gang Dance,
Andrew Ashong & Theo Parrish,
The Pop Group,
Roxy Music,
John Coltrane,
Sarah Menescal,
Liliput,
Absolute Body Control,
JFA,
Kerri Chandler,
Dual Sessions,
Rakim,
Alison Limerick,
Cameo,
Aloha Tigers,
Todd Rundgren,
Joe Finger,
Brass Construction,
The Moody Blues,
Can,
Piero Umiliani,
Boogie Down Productions,
Grey Daturas,
Bootsy's Rubber Band,
Strawberry Alarm Clock,
Neu!,
Quadrant,
Spandau Ballet,
Motorama,
New York Dolls,
Nas,
Echo & the Bunnymen,
London Community Gospel Choir,
Agitation Free,
Skaos,
Sparks,
Rapeman,
Camron Feat. Memphis Bleek And Beenie Seigel,
Josef K,
EPMD,
Marcia Griffiths,
The Monochrome Set,
Isaac Hayes,
Fifty Foot Hose,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.