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 Netherlands and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 Delhi and Edmonton.
I'm losing my edge to the art-school Lyon 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 808 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 Colin Newman to the jazz kids.
I played it at CBGB's.
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 Marcia Griffiths. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Teenage Jesus and the Jerks,
Babytalk,
Piero Umiliani,
Beasts of Bourbon,
Rod Modell,
The Fire Engines,
Niagra,
Justin Hinds & The Dominoes,
Absolute Body Control,
Altered Images,
Royal Trux,
New York Dolls,
Amon Düül,
Deepchord,
the Association,
Lafayette Afro Rock Band,
Lou Reed,
Wally Richardson,
Country Teasers,
The Knickerbockers,
Don Cherry,
The Fugs,
The New Christs,
The Dead C,
Circle Jerks,
Traffic Nightmare,
Lyres,
Michelle Simonal,
The Selecter,
Moss Icon,
Röyhkä ja Rättö ja Lehtisalo,
Kenny Larkin,
Al Stewart,
The Young Rascals,
Deadbeat,
Vladislav Delay,
Moby Grape,
Rapeman,
Kauko Röyhkä ja Narttu,
The Kinks,
Sexual Harrassment,
Sex Pistols,
Girls At Our Best!,
Arthur Verocai,
Lalo Schifrin,
The Skatalites,
Lee Hazlewood,
Lou Reed & John Cale,
Max Romeo,
Connie Case,
Cecil Taylor,
Stockholm Monsters,
The Slits,
La Düsseldorf,
The Cramps,
Aaron Thompson,
Y Pants,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.