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 Lebanon and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Delhi and Edmonton.
I'm losing my edge to the art-school Cairo 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 güiro 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 Swell Maps to the funk kids.
I played it at the Roxy.
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 Liliput. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Girls At Our Best!,
Shoche,
Crooked Eye,
A Flock of Seagulls,
Underground Resistance,
Mars,
Bill Near,
Interpol,
Neu!,
The New Christs,
The Evens,
Brick,
Second Layer,
Monks,
Danielle Patucci,
Manfred Mann's Earth Band,
Mr. Review,
Lakeside,
Marmalade,
Rhythm & Sound,
The Fortunes,
Aaron Thompson,
Gil Scott Heron,
Minor Threat,
Liaisons Dangereuses,
Pylon,
Teenage Jesus and the Jerks,
Alice Coltrane,
Theoretical Girls,
Sugar Minott,
Minny Pops,
Althea and Donna,
Boredoms,
Dark Day,
Main Source,
Roxette,
Von Mondo,
Wings,
Grey Daturas,
Desert Stars,
Pole,
The Electric Prunes,
The Dave Clark Five,
The Dirtbombs,
Lower 48,
Juan Atkins,
June Days,
Morten Harket,
Fear,
Cybotron,
Andrew Hill,
Funkadelic,
Dr. Dre and Snoop Doggy Dog,
The Durutti Column,
Average White Band,
Howard Jones,
Vaughan Mason & Crew,
L. Decosne,
Rowland S Howard / Lydia Lunch,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.