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 Philippines and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Edmonton and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 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 Flash Fearless to the rock kids.
I played it at the Roxy.
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 Gil Scott Heron tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Chris & Cosey,
Wasted Youth,
CMW,
Eric B and Rakim,
Be Bop Deluxe,
H. Thieme,
Piero Umiliani,
Kevin Saunderson,
Dual Sessions,
The Smoke,
The Mojo Men,
Lyres,
Quantec,
Suburban Knight,
Don Cherry,
Ohio Players,
Kayak,
New Order,
Radio Birdman,
Erykah Badu,
Cecil Taylor,
Urselle,
Main Source,
Stiv Bators,
Scott Walker + Sunn O))),
Kool G Rap & DJ Polo,
Janne Schatter,
Kaleidoscope,
X-101,
Mark Hollis,
Juan Atkins,
Eve St. Jones,
The West Coast Pop Art Experimental Band,
Alison Limerick,
Fugazi,
The Birthday Party,
Lindisfarne,
Flash Fearless,
Massinfluence,
Yellowson,
Scratch Acid,
Depeche Mode,
Idris Muhammad,
Pharoah Sanders,
Kerri Chandler,
48th St. Collective,
Agent Orange,
The Kinks,
The Techniques,
Larry & the Blue Notes,
Siglo XX,
Major Organ And The Adding Machine,
Blancmange,
the Fania All-Stars,
Aswad,
The Grass Roots,
Marc Romboy vs. Booka Shade,
Sam Rivers,
Rhythm & Sound,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.