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 Equatorial Guinea and from Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1971.
I'm losing my edge.
To all the kids in Seoul and Copenhagen.
I'm losing my edge to the art-school Houston 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 güiro 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 Outsiders to the rock 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 Lou Reed & John Cale. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Selector Dub Narcotic 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
The Victims,
Easy Going,
Animal Collective,
Gastr Del Sol,
Lucky Dragons,
Inner City,
Aural Exciters,
Electric Light Orchestra,
Traffic Nightmare,
Public Enemy,
Bang on a Can All-Stars,
Major Organ And The Adding Machine,
cv313,
These Immortal Souls,
Bang On A Can,
Procol Harum,
Eve St. Jones,
Youth Brigade,
Oblivians,
Chrome,
X-102,
Soft Machine,
The Saints,
Glambeats Corp.,
Crispian St. Peters,
The Stooges,
Slave,
Mary Jane Girls,
Blake Baxter,
Negative Approach,
Magma,
Robert Görl,
Minnie Riperton,
Fort Wilson Riot,
Underground Resistance,
Flipper,
Yaz,
Danielle Patucci,
Mr. Review,
Q and Not U,
Pussy Galore,
Flamin' Groovies,
Eden Ahbez,
Pere Ubu,
Joy Division,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cheater Slicks,
The American Breed,
Marine Girls,
The Monks,
Rhythim Is Rhythim,
David Axelrod,
K-Klass,
Tim Buckley,
Desert Stars,
Bobby Womack,
Organ,
Jawbox,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.