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 Brazil and from Lagos.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Seoul and Taipei.
I'm losing my edge to the art-school Accra 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 Holger Czukay 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 Gil Scott-Heron & Brian Jackson to the techno 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 Theoretical Girls. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba 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 sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Rhythm & Sound,
Heavy D & The Boyz,
L. Decosne,
Swans,
Terrestrial Tones,
Laurel Aitken,
Nik Kershaw,
Rotary Connection,
Roxy Music,
Jacob Miller,
Marcia Griffiths,
Man Parrish,
The Grass Roots,
Ten City,
Art Ensemble Of Chicago,
The Raincoats,
The Seeds,
Youth Brigade,
Kerri Chandler,
The Cramps,
Stetsasonic,
The Residents,
The Fire Engines,
Nils Olav,
The Saints,
Eric Dolphy,
The Pop Group,
AZ,
D'Angelo,
Malaria!,
Television,
Boogie Down Productions,
Yaz,
T. Rex,
The Remains,
Robert Wyatt,
Manfred Mann's Earth Band,
Rhythim Is Rhythim,
Young Marble Giants,
Cecil Taylor,
Delta 5,
LL Cool J,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Los Fastidios,
The Motions,
Fifty Foot Hose,
Bobby Sherman,
Oblivians,
The Music Machine,
The New Christs,
Drive Like Jehu,
F. McDonald,
Index,
Charles Mingus,
Sun Ra Arkestra,
Crash Course in Science,
the Normal,
Alton Ellis,
The Zeros,
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.