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 Taiwan and from Paris.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school New York 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Fortunes to the grunge kids.
I played it at the Hacienda.
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 Sunsets and Hearts. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
the Swans,
E-Dancer,
Malaria!,
Liaisons Dangereuses,
Brothers Johnson,
The Move,
Scott Walker + Sunn O))),
Bob Dylan,
Deakin,
Godley & Creme,
Excepter,
The Count Five,
Lyres,
Lou Christie,
De La Soul & Jungle Brothers,
Accadde A,
Marshall Jefferson,
Jerry Gold Smith,
Moss Icon,
Tubeway Army,
Bobby Womack,
The Grass Roots,
Davy DMX,
Nirvana,
Gil Scott-Heron & Brian Jackson,
U.S. Maple,
ABBA,
Selector Dub Narcotic,
The Doobie Brothers,
Terror Squad Feat. Camron,
Interpol,
Marc Romboy vs. Booka Shade,
The Buckinghams,
Judy Mowatt,
Eddi Front,
Japan,
Be Bop Deluxe,
Fort Wilson Riot,
The Cosmic Jokers,
Notorious BIG live in Amsterdam,
Joyce Sims,
EPMD,
Porter Ricks,
Ralphi Rosario,
DJ Sneak,
Soft Machine,
Crooked Eye,
Cluster,
The Evens,
Robert Hood,
Fela Kuti,
Prince Buster,
The Electric Prunes,
One Last Wish,
Lebanon Hanover,
Rowland S Howard / Lydia Lunch,
Marine Girls,
Sonny Sharrock,
Jawbox,
UT, UT, UT, UT.
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.