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 Botswana and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1964 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
I'm losing my edge to the art-school Mexico City 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Babytalk to the electroclash kids.
I played it at the 40 Watt.
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 Terry Callier. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
Lee Hazlewood,
Shuggie Otis,
Graham Central Station,
Ronan,
X-102,
Gang Green,
Pylon,
Joe Finger,
The Men They Couldn't Hang,
Grey Daturas,
Godley & Creme,
Faraquet,
The Alarm Clocks,
Johnny Osbourne,
Orchestral Manoeuvres in the Dark,
JFA,
the Bar-Kays,
Subhumans,
Big Daddy Kane,
Dennis Brown,
The Selecter,
Basic Channel,
David Axelrod,
Black Flag,
Y Pants,
Mission of Burma,
The Jesus and Mary Chain,
Schoolly D,
Au Pairs,
Marc Romboy vs. Booka Shade,
Monks,
Urselle,
Ten City,
Pete Rock & C.L. Smooth,
Avey Tare & Kría Brekkan,
Dave Gahan,
Con Funk Shun,
Clear Light,
The Fall,
Negative Approach,
Magma,
Bad Manners,
Masters at Work,
Jeru the Damaja,
Rosa Yemen,
Bang On A Can,
John Coltrane,
Electric Light Orchestra,
Average White Band,
The Fugs,
Blancmange,
Cabaret Voltaire,
Saccharine Trust,
The Cure,
Pharaoh Sanders and the Fire Engines,
Can,
Slave,
Wings,
The Cowsills,
New York Dolls,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.