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 Liechtenstein and from Lagos.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Portland 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 Captain Beefheart 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 DeepChord presents Echospace to the jazz kids.
I played it at CBGB's.
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 Robert Hood. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal punk 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Todd Rundgren record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
The Mojo Men,
Fat Boys,
The Music Machine,
Marine Girls,
The Monks,
Mark Hollis,
Chris & Cosey,
Unrelated Segments,
Piero Umiliani,
Ultimate Spinach,
Qualms,
The Toasters,
David McCallum,
Lou Reed & John Cale,
Surgeon,
Lyres,
The Pop Group,
Roger Hodgson,
Todd Terry,
Archie Shepp,
Delta 5,
Roy Ayers Ubiquity,
Manfred Mann's Earth Band,
Bobby Sherman,
Black Sheep,
Pere Ubu,
Wasted Youth,
The Gories,
Saccharine Trust,
Larry & the Blue Notes,
The Shadows of Knight,
Goldenarms,
Neu!,
Richard Hell and the Voidoids,
June of 44,
Marcia Griffiths,
Radiohead,
Vladislav Delay,
Tommy Roe,
Sonic Youth,
Lakeside,
Boogie Down Productions,
Dead Boys,
Skriet,
Nas,
Nick Fraelich,
Ohio Players,
Beasts of Bourbon,
Warren Ellis,
The Selecter,
Sarah Menescal,
John Coltrane,
Blancmange,
Negative Approach,
The Slackers,
Sunsets and Hearts,
Siouxsie and the Banshees,
Erykah Badu,
Pantaleimon,
Scratch Acid,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.