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 Poland and from Houston.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
I'm losing my edge to the art-school Mexico City 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 sitar 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 Zero Boys to the punk kids.
I played it at Trash.
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 The Velvet Underground. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Warsaw 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan 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?
Lightning Bolt,
The Mummies,
Terrestrial Tones,
Warren Ellis,
Barry Ungar,
The Last Poets,
The Standells,
Qualms,
The Stooges,
The Shadows of Knight,
the Fania All-Stars,
The Walker Brothers,
Pantytec,
Japan,
Sun Ra Arkestra,
Tubeway Army,
Kango’s Stein Massive,
Eyeless In Gaza,
Flamin' Groovies,
The Move,
Drive Like Jehu,
Scientists,
Nas,
Grandmaster Flash and the Furious Five,
Prince Buster,
Anakelly,
Sly & The Family Stone,
Arthur Verocai,
Theoretical Girls,
Boogie Down Productions,
Mad Mike,
James White and The Blacks,
Bob Dylan,
Flipper,
X-102,
Electric Prunes,
The Moleskins,
Lungfish,
Eric Dolphy,
Drexciya,
The Monochrome Set,
Robert Hood,
Trumans Water,
Major Organ And The Adding Machine,
Babytalk,
Todd Rundgren,
Heavy D & The Boyz,
Tom Boy,
Pagans,
Sad Lovers and Giants,
Soft Cell,
Lalo Schifrin,
Donny Hathaway,
Franke,
Delon & Dalcan,
Quando Quango,
The Residents,
The Vogues,
Rotary Connection,
CMW,
The Dead C,
Wire, Wire, Wire, Wire.
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.