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 Marshall Islands and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television 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 1963 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Sonic Youth to the disco 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 The Velvet Underground. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Howard Jones 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group 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?
Wally Richardson,
Bobby Hutcherson,
The Barracudas,
Newcleus,
Fad Gadget,
The Martian,
Sonny Sharrock,
the Association,
Underground Resistance,
Thee Headcoats,
Sam Rivers,
James White and The Blacks,
The Chocolate Watch Band,
Orchestral Manoeuvres in the Dark,
the Slits,
Sun Ra,
Jeff Mills,
Oppenheimer Analysis,
Minor Threat,
DNA,
Eddi Front,
A Certain Ratio,
The Stooges,
Lalann,
Mo-Dettes,
Kevin Saunderson,
The West Coast Pop Art Experimental Band,
Liliput,
The Selecter,
Robert Wyatt,
Ultramagnetic MC's,
Art Ensemble Of Chicago,
The Trojans,
Archie Shepp,
Los Fastidios,
Pere Ubu,
Letta Mbulu,
Johnny Osbourne,
The Seeds,
Magazine,
The Pop Group,
Trumans Water,
Black Flag,
Toni Rubio,
A Flock of Seagulls,
Inner City,
Mr. Review,
Nico,
The Durutti Column,
Animal Collective,
Todd Rundgren,
The Fugs,
Funkadelic,
The Mummies,
The Monks,
H. Thieme,
The Divine Comedy,
Curtis Mayfield,
The Cure,
Steve Hackett,
K-Klass, K-Klass, K-Klass, K-Klass.
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.