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 Uruguay and from Cairo.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Madrid and Spokane.
I'm losing my edge to the art-school Halifax 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 snare 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 Motorama to the electroclash kids.
I played it at the Spitz.
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 Lucky Dragons. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Ken Boothe 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Tres Demented record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Henry Cow,
Bobby Hutcherson,
The Names,
Dead Boys,
LL Cool J,
The Birthday Party,
Dennis Brown,
The Kinks,
Lalann,
Cluster,
Sun Ra,
Kayak,
Gabor Szabo,
Clear Light,
ABBA,
Glenn Branca,
Alton Ellis,
One Last Wish,
The Monks,
Anthony Braxton,
Marcia Griffiths,
Eric B and Rakim,
Roxette,
Pylon,
Arcadia,
MDC,
Teenage Jesus and the Jerks,
Oblivians,
Ken Boothe,
Groovy Waters,
Eurythmics,
Monolake,
Erykah Badu,
Robert Wyatt,
Grandmaster Flash and the Furious Five,
Motorama,
Chris & Cosey,
June of 44,
Sight & Sound,
Suburban Knight,
Electric Prunes,
Warsaw,
The Trojans,
Quantec,
Peter & Gordon,
Jacques Brel,
Derrick May,
Nils Olav,
Lower 48,
Barry Ungar,
The Associates,
Art Ensemble Of Chicago,
Ajijia Myrayebe,
Lou Christie,
Khruangbin,
Lizzy Mercier Descloux,
Larry & the Blue Notes,
Rosa Yemen,
Brothers Johnson,
Vladislav Delay,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.