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 Bahrain and from Calgary.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Stockholm 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 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 The Kinks to the dance kids.
I played it at Cafe Wha.
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 Soft Machine. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Mary Jane Girls,
Drive Like Jehu,
The Gap Band,
CMW,
Liaisons Dangereuses,
Model 500,
Organ,
Camberwell Now,
T.S.O.L.,
Glenn Branca,
Siouxsie and the Banshees,
Wighnomy Brothers & Robag Wruhme,
Dawn Penn,
Strawberry Alarm Clock,
Bootsy's Rubber Band,
Max Romeo,
Aloha Tigers,
Roxette,
Jesper Dahlback,
Gang Green,
Brick,
Cameo,
Electric Light Orchestra,
Motorama,
Das Ding,
Kango’s Stein Massive,
Justin Hinds & The Dominoes,
Wolf Eyes,
Hasil Adkins,
Joyce Sims,
Gang Gang Dance,
Minutemen,
June of 44,
U.S. Maple,
the Soft Cell,
Arthur Verocai,
Joey Negro,
Fela Kuti,
UT,
Faraquet,
Unrelated Segments,
Lucky Dragons,
Blake Baxter,
The Toasters,
Slick Rick,
Gong,
Agent Orange,
Guru Guru,
Whodini,
Laurel Aitken,
Roy Ayers,
Gabor Szabo,
Easy Going,
Isaac Hayes,
Graham Central Station,
Ash Ra Tempel,
Tres Demented,
Rotary Connection,
Lonnie Liston Smith,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.