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 Niger and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Bologna 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 Lou Reed 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 Donny Hathaway to the rock 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 New York Dolls. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Au Pairs,
Adolescents,
The Detroit Cobras,
Gil Scott-Heron & Brian Jackson,
Gong,
Tres Demented,
Alison Limerick,
Bobby Byrd,
Pulsallama,
Unrelated Segments,
Bobby Womack,
Ultramagnetic MC's,
Lyres,
Byron Stingily,
Bush Tetras,
Art Ensemble Of Chicago,
The Gap Band,
Aural Exciters,
Lizzy Mercier Descloux,
Al Stewart,
Toni Rubio,
Hot Snakes,
A Flock of Seagulls,
Rosa Yemen,
Junior Murvin,
Man Parrish,
The Saints,
A Certain Ratio,
Tim Buckley,
Severed Heads,
Jerry Gold Smith,
Swans,
Hasil Adkins,
The Jesus and Mary Chain,
Donald Byrd,
Magma,
David Axelrod,
Khruangbin,
Sister Nancy,
Eric B and Rakim,
Gabor Szabo,
Mandrill,
The Names,
Albert Ayler,
Monolake,
Soft Cell,
The Residents,
Scientists,
Lucky Dragons,
Mars,
Fluxion,
Boz Scaggs,
Brass Construction,
The Electric Prunes,
Johnny Clarke,
Susan Cadogan,
Reagan Youth,
Visionaries,LMNO, T- Love & Iriscience,
Nas,
These Immortal Souls,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.