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 Dominica and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 808 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 The Gladiators to the disco kids.
I played it at the Troubador.
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 The Index. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
These Immortal Souls,
Agitation Free,
Lalo Schifrin,
Johnny Osbourne,
cv313,
Second Layer,
Bauhaus,
Con Funk Shun,
Alison Limerick,
The New Christs,
Basic Channel,
Röyhkä ja Rättö ja Lehtisalo,
Spoonie Gee,
Outsiders,
Albert Ayler,
10cc,
Eve St. Jones,
Brick,
Skriet,
Fort Wilson Riot,
Sarah Menescal,
David Axelrod,
Desert Stars,
Tom Boy,
FM Einheit,
Chris Corsano,
Dark Day,
Marvin Gaye,
Rhythm & Sound,
Groovy Waters,
CMW,
Pantytec,
Maurizio,
Kas Product,
John Cale,
Joy Division,
Nick Cave & The Bad Seeds,
The Offenders,
Black Sheep,
Crime,
The Selecter,
Gian Franco Pienzio,
OOIOO,
The Fortunes,
The Doors,
Eddi Front,
Blancmange,
Danielle Patucci,
Neu!,
a-ha,
Faraquet,
Popol Vuh,
Flamin' Groovies,
Gichy Dan,
Index,
Dawn Penn,
Visionaries,LMNO, T- Love & Iriscience,
EPMD,
Ituana,
Tres Demented,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.