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 Belize and from Tokyo.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Toronto and Salvador.
I'm losing my edge to the art-school Glasgow 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 Radiopuhelimet to the dance 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 Pagans. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Toni Rubio record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Kaleidoscope,
Stetsasonic,
Oppenheimer Analysis,
Unrelated Segments,
Lou Christie,
Graham Central Station,
Bill Near,
Cheater Slicks,
Pharaoh Sanders and the Fire Engines,
Pantytec,
Glenn Branca,
These Immortal Souls,
Gil Scott Heron,
Strawberry Alarm Clock,
Gabor Szabo,
Eve St. Jones,
Pere Ubu,
Echospace,
The Royal Family And The Poor,
The Leaves,
Todd Rundgren,
Josef K,
The Slackers,
Niagra,
Blake Baxter,
Qualms,
Slave,
Schoolly D,
The Velvet Underground,
Aswad,
Grauzone,
Bluetip,
Joey Negro,
Camron Feat. Memphis Bleek And Beenie Seigel,
Soul Sonic Force,
Royal Trux,
Max Romeo,
Circle Jerks,
The Monochrome Set,
Marcia Griffiths,
the Normal,
Fela Kuti,
Rapeman,
Barclay James Harvest,
Agitation Free,
Sister Nancy,
Roxette,
David Bowie,
Amazonics,
Bootsy Collins,
Boz Scaggs,
Yellowson,
Ken Boothe,
The Index,
The Music Machine,
Selector Dub Narcotic,
The Smiths,
Minny Pops,
Fatback Band,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.