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 Ecuador and from Tokyo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Columbus and Taipei.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Lou Reed 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 Stereo Dub to the dance kids.
I played it at the Crocodile.
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 Buzzcocks. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Lalo Schifrin record on German import.
I heard that you have a white label of every seminal grunge 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
the Association,
Royal Trux,
Eli Mardock,
Sly & The Family Stone,
Brand Nubian,
Crispy Ambulance,
Infiniti,
Accadde A,
Jawbox,
Donald Byrd,
PIL,
The Human League,
The Cosmic Jokers,
Marshall Jefferson,
Excepter,
John Holt,
Buzzcocks,
Aural Exciters,
Chris & Cosey,
The New Christs,
ABC,
Index,
Jesper Dahlbäck,
Barrington Levy,
Joey Negro,
Jeff Lynne,
ABBA,
Avey Tare's Slasher Flicks,
Rosa Yemen,
Ultramagnetic MC's,
Pussy Galore,
Ituana,
Boredoms,
Electric Prunes,
Sarah Menescal,
Susan Cadogan,
Cecil Taylor,
Joe Finger,
Gil Scott-Heron and Jamie xx,
Adolescents,
Graham Central Station,
Judy Mowatt,
Sad Lovers and Giants,
Loose Ends,
Skriet,
Bootsy's Rubber Band,
Mark Hollis,
Dorothy Ashby,
The Smoke,
Slave,
Peter Gordon & Love of Life Orchestra,
The Monks,
Guru Guru,
Henry Cow,
Marcia Griffiths,
H. Thieme,
Lungfish,
Flash Fearless,
R.M.O.,
The Fuzztones,
The Leaves, The Leaves, The Leaves, The Leaves.
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.