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 Kazakhstan and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1960 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Milan 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 linndrum 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 Mr. Review to the grunge kids.
I played it at the Hacienda.
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 ABBA. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Y Pants 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Robert Wyatt,
Malaria!,
Sun Ra,
Throbbing Gristle,
Gil Scott-Heron & Brian Jackson,
Kevin Saunderson,
June of 44,
Glenn Branca,
Bill Wells,
Joy Division,
Lower 48,
Fela Kuti,
Guru Guru,
Notorious BIG live in Amsterdam,
The Mighty Diamonds,
The Star Department,
Groovy Waters,
T.S.O.L.,
The Victims,
Yellowson,
Terry Callier,
Animal Collective,
Harpers Bizarre,
The Move,
Vaughan Mason & Crew,
Radiopuhelimet,
Marvin Gaye,
Blake Baxter,
The Golliwogs,
Agent Orange,
Sparks,
Rhythm & Sound,
Scrapy,
The Motions,
Byron Stingily,
Main Source,
Aloha Tigers,
Lakeside,
Robert Hood,
The Evens,
The Pop Group,
Sun Ra Arkestra,
Scott Walker + Sunn O))),
Little Man,
Spandau Ballet,
Funkadelic,
Babytalk,
Lou Christie,
Hardrive,
Zero Boys,
One Last Wish,
Angry Samoans,
DJ Sneak,
Rites of Spring,
La Düsseldorf,
The Searchers,
Funky Four + One,
The Jesus and Mary Chain,
the Bar-Kays,
Tropical Tobacco,
Henry Cow,
Delta 5, Delta 5, Delta 5, Delta 5.
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.