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 Jamaica and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Portland and Portland.
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 theremin sounds with much patience.
I was there when David Bowie 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 Young Marble Giants 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 Reuben Wilson. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Harpers Bizarre,
Pantaleimon,
Masters at Work,
The Star Department,
Avey Tare,
Josef K,
The Techniques,
Scan 7,
De La Soul & Jungle Brothers,
Archie Shepp,
Rekid,
F. McDonald,
Moss Icon,
June of 44,
Scrapy,
Sällskapet,
Alison Limerick,
the Slits,
Al Stewart,
Pantytec,
Sarah Menescal,
Schoolly D,
Kool Moe Dee,
Pussy Galore,
the Association,
Angels of Light & Akron/Family,
Strawberry Alarm Clock,
Babytalk,
AZ,
Gregory Isaacs,
Agitation Free,
The Busters,
Massinfluence,
Desert Stars,
Mark Hollis,
Notorious BIG live in Amsterdam,
DeepChord presents Echospace,
Excepter,
Can,
Sound Behaviour,
The Zeros,
Minor Threat,
Hot Snakes,
the Human League,
Depeche Mode,
Index,
Oneida,
Magma,
Stockholm Monsters,
The Smoke,
Altered Images,
The Slits,
Young Marble Giants,
Anakelly,
The Litter,
The Index,
Ajijia Myrayebe,
Fela Kuti,
Traffic Nightmare,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.