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 Philippines and from Cairo.
But I was there.
I was there in 1973.
I was there at the first Television 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 1969 to 1971.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Lagos 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 clarinet 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 Ultimate Spinach to the dance kids.
I played it at the 40 Watt.
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 Rosa Yemen. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Tomorrow 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Josef K record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Dual Sessions,
Section 25,
Buzzcocks,
Mars,
Scott Walker,
Lizzy Mercier Descloux,
Rod Modell,
Piero Umiliani,
Neil Young & Crazy Horse,
Franke,
The American Breed,
Radiohead,
Kool Moe Dee,
The West Coast Pop Art Experimental Band,
Q and Not U,
John Holt,
Underground Resistance,
Pole,
DJ Sneak,
The Knickerbockers,
June Days,
Pharoah Sanders,
De La Soul & Jungle Brothers,
Pere Ubu,
The Searchers,
Skarface,
The Gun Club,
Jawbox,
Rhythim Is Rhythim,
Patti Smith,
Letta Mbulu,
Roxy Music,
Marc Almond,
Lou Reed & John Cale,
Dawn Penn,
Echospace,
Ralphi Rosario,
Wings,
Neu!,
Lucky Dragons,
Marmalade,
Loose Ends,
Johnny Clarke,
Amon Düül II,
Average White Band,
Marc Romboy vs. Booka Shade,
The Grass Roots,
The Litter,
Avey Tare & Kría Brekkan,
The Five Americans,
Stockholm Monsters,
Lonnie Liston Smith,
Black Sheep,
Jeru the Damaja,
The Sisters of Mercy,
Gary Puckett & The Union Gap,
PIL,
Trumans Water,
Althea and Donna,
Delon & Dalcan,
Model 500,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.