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 Gabon and from Edmonton.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Houston and Toronto.
I'm losing my edge to the art-school Beijing 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Peter & Gordon to the crunk 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 Masters at Work. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Michelle Simonal,
Television,
Kaleidoscope,
Bang On A Can,
The Royal Family And The Poor,
Cymande,
Scratch Acid,
The Leaves,
Minor Threat,
Mark Hollis,
The Shadows of Knight,
The Real Kids,
Pulsallama,
Gary Puckett & The Union Gap,
The Knickerbockers,
Black Flag,
Sarah Menescal,
Porter Ricks,
Alphaville,
In Retrospect,
Bobby Womack,
Bill Wells,
Babytalk,
Gerry Rafferty,
Ken Boothe,
Selector Dub Narcotic,
Eric B and Rakim,
Motorama,
Crime,
The Dave Clark Five,
Minny Pops,
Manfred Mann's Earth Band,
Colin Newman,
Barry Ungar,
The Pretty Things,
Toni Rubio,
Skriet,
Buzzcocks,
The Kinks,
Pantytec,
Hoover,
The Alarm Clocks,
The Grass Roots,
Alton Ellis,
Joy Division,
Justin Hinds & The Dominoes,
Swell Maps,
The Trojans,
Agent Orange,
E-Dancer,
Yaz,
Deepchord,
Byron Stingily,
Albert Ayler,
The Birthday Party,
Cecil Taylor,
Black Moon,
The Selecter,
Hasil Adkins,
Wighnomy Brothers & Robag Wruhme,
The Zeros,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.