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 Ghana and from Accra.
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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
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 spring reverb 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 Smoke to the funk 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 Kerri Chandler. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Danielle Patucci,
The Moleskins,
Stereo Dub,
Kurtis Blow,
Bang on a Can All-Stars,
Lalann,
Lee Hazlewood,
The Sound,
Funky Four + One,
Qualms,
Vaughan Mason & Crew,
Faraquet,
Whodini,
Sight & Sound,
Minutemen,
The Velvet Underground,
Wasted Youth,
N.O.R.E. Featuring Pharrell,
Larry & the Blue Notes,
Charles Mingus,
FM Einheit,
Rod Modell,
Hardrive,
Schoolly D,
These Immortal Souls,
Shuggie Otis,
Kenny Larkin,
Soft Machine,
Fat Boys,
Wire,
Harmonia,
Tommy Roe,
Country Teasers,
Stetsasonic,
Camberwell Now,
The Monks,
Flamin' Groovies,
Crash Course in Science,
8 Eyed Spy,
Basic Channel,
the Swans,
Albert Ayler,
Ultimate Spinach,
Oneida,
Masters at Work,
Soft Cell,
Sun City Girls,
Cecil Taylor,
Joyce Sims,
The Five Americans,
Model 500,
Jesper Dahlback,
Robert Görl,
Colin Newman,
Ossler,
Flipper,
Rhythim Is Rhythim,
The Dave Clark Five,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.