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 Equatorial Guinea and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer 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 Animal Collective to the punk kids.
I played it at the Astoria.
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 Todd Rundgren. All the underground hits.
All Chris & Cosey 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 funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wasted Youth,
Nation of Ulysses,
Gian Franco Pienzio,
Eric Copeland,
Ornette Coleman,
Jerry's Kids,
Cymande,
The Electric Prunes,
Slick Rick,
Kings Of Tomorrow,
Half Japanese,
World's Most,
Andrew Ashong & Theo Parrish,
Jandek,
10cc,
Derrick May,
Sight & Sound,
Bronski Beat,
Robert Hood,
The Wake,
Dead Boys,
Captain Beefheart & His Magic Band,
Alison Limerick,
London Community Gospel Choir,
Index,
The Fire Engines,
Tomorrow,
Pantaleimon,
The Fuzztones,
Roy Ayers,
Dave Gahan,
Roy Ayers Ubiquity,
Archie Shepp,
Bobby Sherman,
Spandau Ballet,
Janne Schatter,
The Five Americans,
Pierre Henry,
Alphaville,
De La Soul & Jungle Brothers,
The Sisters of Mercy,
Pantytec,
Negative Approach,
Jeff Mills,
a-ha,
Scan 7,
Organ,
Piero Umiliani,
Rotary Connection,
Suicide,
Patti Smith,
Quantec,
Derrick Morgan,
Thinking Fellers Union Local 282,
Rekid,
James White and The Blacks,
The Sound,
the Association,
Minny Pops,
Q and Not U,
Saccharine Trust,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.