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 Mauritania and from Accra.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Manchester and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 Michael McDonald 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 New Age Steppers to the disco kids.
I played it at Cafe Wha.
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 Angels of Light & Akron/Family. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
The Stooges,
Letta Mbulu,
Unrelated Segments,
Sparks,
Lou Reed & Metallica,
Glambeats Corp.,
Talk Talk,
Groovy Waters,
Faraquet,
Skaos,
Ash Ra Tempel,
Deutsch Amerikanische Freundschaft,
Liaisons Dangereuses,
The Fuzztones,
Justin Hinds & The Dominoes,
Tears for Fears,
Q and Not U,
Make Up,
Lyres,
Bluetip,
The Grass Roots,
Wings,
Ultra Naté,
The Skatalites,
Lebanon Hanover,
Nico,
Roy Ayers Ubiquity,
Barry Ungar,
Infiniti,
Pete Rock & C.L. Smooth,
Icehouse,
The Kinks,
Moby Grape,
The Sisters of Mercy,
The Men They Couldn't Hang,
Magma,
Yusef Lateef,
A Certain Ratio,
Stetsasonic,
Lalo Schifrin,
Technova,
Archie Shepp,
Grey Daturas,
Bizarre Inc.,
Pagans,
Max Romeo,
Gil Scott-Heron & Brian Jackson,
Tomorrow,
The Saints,
Joe Finger,
The Beau Brummels,
Trumans Water,
Lalann,
The Pretty Things,
Black Pus,
Al Stewart,
Reuben Wilson,
DJ Style,
Strawberry Alarm Clock,
Nation of Ulysses,
Stockholm Monsters,
Index,
The Sound,
John Cale, John Cale, John Cale, John Cale.
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.