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 Tuvalu and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Manila and Mumbai.
I'm losing my edge to the art-school Lyon 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 organ 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 Terror Squad Feat. Camron to the disco 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 Wings. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
New Age Steppers,
The Sisters of Mercy,
D'Angelo,
Yellowson,
The Barracudas,
The Fortunes,
Bizarre Inc.,
Kango’s Stein Massive,
The Fire Engines,
The Peanut Butter Conspiracy,
The Pretty Things,
Barbara Tucker,
Black Flag,
Morten Harket,
The Smoke,
DJ Style,
Dark Day,
Sun Ra Arkestra,
Urselle,
Vaughan Mason & Crew,
London Community Gospel Choir,
X-102,
John Holt,
James Chance & The Contortions,
The Detroit Cobras,
Kool Moe Dee,
Sonic Youth,
Ken Boothe,
Tim Buckley,
Graham Central Station,
Stockholm Monsters,
The Happenings,
The Evens,
Arthur Verocai,
Lyres,
The Men They Couldn't Hang,
Smog,
Goldenarms,
Quadrant,
Oppenheimer Analysis,
Desert Stars,
The Red Krayola,
X-101,
Marcia Griffiths,
Fat Boys,
Con Funk Shun,
Massinfluence,
The Skatalites,
Brick,
The Index,
The Monks,
The Mummies,
Television,
Crooked Eye,
Scrapy,
Ralphi Rosario,
The Blackbyrds,
Reuben Wilson,
Jawbox,
Unrelated Segments,
Can, Can, Can, Can.
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.