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 Uruguay and from Manila.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Spokane and Jakarta.
I'm losing my edge to the art-school Mumbai 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 oboe 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 Minor Threat to the crunk kids.
I played it at the 40 Watt.
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 Ludus. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
The Flesh Eaters,
Throbbing Gristle,
Japan,
Pharaoh Sanders and the Fire Engines,
Peter & Gordon,
Fat Boys,
Sly & The Family Stone,
Minnie Riperton,
Aural Exciters,
The Stooges,
Ken Boothe,
Rapeman,
Agent Orange,
Cabaret Voltaire,
Glambeats Corp.,
Dark Day,
Wings,
The Sound,
Ralphi Rosario,
Fifty Foot Hose,
Lindisfarne,
Parry Music,
Davy DMX,
Mr. Review,
Mo-Dettes,
Dorothy Ashby,
The Last Poets,
Laurel Aitken,
Skriet,
Siouxsie and the Banshees,
Adolescents,
Lyres,
Rhythm & Sound,
The Seeds,
Motorama,
Cymande,
Gastr Del Sol,
AZ,
Louis and Bebe Barron,
Thompson Twins,
the Fania All-Stars,
Oblivians,
Quantec,
John Cale,
Gil Scott-Heron & Brian Jackson,
The Fuzztones,
Nik Kershaw,
Connie Case,
Saccharine Trust,
Selector Dub Narcotic,
Pantytec,
Donald Byrd,
Tomorrow,
Surgeon,
Echo & the Bunnymen,
Barclay James Harvest,
Absolute Body Control,
Marvin Gaye,
The Gap Band,
MDC,
Steve Hackett,
Justin Hinds & The Dominoes,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.