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 Iraq and from Manchester.
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 1971.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Tehran 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 The Barracudas to the rock kids.
I played it at the Roxy.
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 Mandrill. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Cecil Taylor,
The Techniques,
Schoolly D,
Andrew Ashong & Theo Parrish,
Jacques Brel,
Quantec,
Cluster,
Agent Orange,
Warren Ellis,
Delta 5,
Joensuu 1685,
Tom Boy,
Henry Cow,
Ludus,
Fifty Foot Hose,
Stetsasonic,
Hasil Adkins,
a-ha,
Marc Romboy vs. Booka Shade,
Dawn Penn,
Arcadia,
The Wake,
E-Dancer,
Altered Images,
Minutemen,
Sonic Youth,
Eyeless In Gaza,
The Victims,
Boredoms,
Bob Dylan,
Barbara Tucker,
Echospace,
Big Daddy Kane,
Joyce Sims,
Peter & Gordon,
The Durutti Column,
DNA,
Khruangbin,
Soul II Soul,
Fort Wilson Riot,
Loose Ends,
Hot Snakes,
Deakin,
Gerry Rafferty,
Lightning Bolt,
The Beau Brummels,
Gil Scott Heron,
Radio Birdman,
The Slits,
Roxette,
Quadrant,
Notorious Big And Bone Thugs,
Jeff Lynne,
Monolake,
The Cramps,
Monks,
Sly & The Family Stone,
the Swans,
Infiniti,
Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel.
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.