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 Czech Republic and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1979.
I'm losing my edge.
To all the kids in Mumbai and Johannesburg.
I'm losing my edge to the art-school Houston 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Procol Harum to the funk 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 Section 25. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Flipper,
Spandau Ballet,
Maleditus Sound,
The Five Americans,
Bang on a Can All-Stars,
Yellowson,
Josef K,
Lungfish,
Country Joe & The Fish,
Jacob Miller,
Essential Logic,
Rahsaan Roland Kirk,
Sound Behaviour,
Erykah Badu,
Tomorrow,
Lalo Schifrin,
Angels of Light & Akron/Family,
The Busters,
Sam Rivers,
Super Lover Cee & Casanova Rud,
Leonard Cohen,
Jerry Gold Smith,
Isaac Hayes,
Make Up,
The American Breed,
Mary Jane Girls,
The Dirtbombs,
The Litter,
Rites of Spring,
Moss Icon,
Bluetip,
Tres Demented,
Kings Of Tomorrow,
Piero Umiliani,
Richard Hell and the Voidoids,
The Seeds,
KRS-One,
Anakelly,
Lyres,
Ossler,
Kevin Saunderson,
Tropical Tobacco,
Jesper Dahlback,
Lou Reed & John Cale,
Lou Reed,
Barclay James Harvest,
Ice-T,
Unrelated Segments,
Television Personalities,
Outsiders,
Magma,
Barbara Tucker,
Gang Gang Dance,
Young Marble Giants,
Brass Construction,
Soft Cell,
Fluxion,
Byron Stingily,
Lou Reed & Metallica,
F. McDonald,
The Names, The Names, The Names, The Names.
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.