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 Denmark and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Paris and Lyon.
I'm losing my edge to the art-school Milan 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 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 Los Fastidios to the rock 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 The Chocolate Watch Band. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal funk 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 a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
kango's stein massive,
Sad Lovers and Giants,
UT,
Roxy Music,
Dual Sessions,
Jeff Lynne,
Qualms,
The Mummies,
Oppenheimer Analysis,
Moby Grape,
Spandau Ballet,
The Doors,
AZ,
The Music Machine,
Kaleidoscope,
The Count Five,
Make Up,
Glenn Branca,
Charles Mingus,
Duran Duran,
Boredoms,
Talk Talk,
Ice-T,
Danielle Patucci,
Rakim,
Au Pairs,
The Moody Blues,
Peter and Kerry,
Mars,
R.M.O.,
Accadde A,
The Jesus and Mary Chain,
Roy Ayers,
Sex Pistols,
Ken Boothe,
Lindisfarne,
China Crisis,
The Dead C,
The Wake,
Audionom,
Crispy Ambulance,
Tres Demented,
F. McDonald,
Rhythm & Sound,
Nick Cave & The Bad Seeds,
The Angels of Light,
Mary Jane Girls,
The Toasters,
Eve St. Jones,
Fifty Foot Hose,
Unrelated Segments,
Sarah Menescal,
The Residents,
Chrome,
Swell Maps,
Thompson Twins,
Wolf Eyes,
Henry Cow,
L. Decosne,
Interpol,
Outsiders,
Gil Scott-Heron and Jamie xx,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.