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 Vanuatu and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Cramps to the rap 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 Lyres. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every New York Dolls 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Ohio Players,
Echo & the Bunnymen,
Lalann,
China Crisis,
Girls At Our Best!,
Roxette,
Joyce Sims,
The Buckinghams,
Pulsallama,
The Move,
Marc Romboy vs. Booka Shade,
Pete Rock & C.L. Smooth,
Dorothy Ashby,
Terrestrial Tones,
the Fania All-Stars,
Technova,
Aural Exciters,
Chrome,
Jacob Miller,
Wire,
Gil Scott-Heron & Brian Jackson,
Main Source,
Alton Ellis,
Janne Schatter,
Liaisons Dangereuses,
Popol Vuh,
Andrew Ashong & Theo Parrish,
Duran Duran,
Fela Kuti,
Crispian St. Peters,
The Gladiators,
Hot Snakes,
Lou Reed & Metallica,
Marine Girls,
The Cramps,
Urselle,
World's Most,
Parry Music,
Gabor Szabo,
Leonard Cohen,
Oppenheimer Analysis,
Jimmy McGriff,
Kool G Rap & DJ Polo,
Eurythmics,
Johnny Clarke,
CMW,
The Divine Comedy,
Selector Dub Narcotic,
Half Japanese,
the Sonics,
Crash Course in Science,
Animal Collective,
Sight & Sound,
Oblivians,
Lakeside,
Warsaw,
Neil Young,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.