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 Equatorial Guinea and from Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1970.
I'm losing my edge.
To all the kids in New York and Hong Kong.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Sexual Harrassment to the disco 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 Lucky Dragons. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Anthony Braxton 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
E-Dancer,
Visage,
Iggy Pop,
Peter & Gordon,
Pole,
Suicide,
Crime,
Strawberry Alarm Clock,
Kool G Rap & DJ Polo,
Notorious BIG live in Amsterdam,
The Seeds,
Bob Dylan,
Index,
Kurtis Blow,
The Walker Brothers,
Trumans Water,
The Fugs,
The Buckinghams,
Avey Tare's Slasher Flicks,
Don Cherry,
DJ Sneak,
Simply Red,
Nas,
Pantaleimon,
Jawbox,
Captain Beefheart & His Magic Band,
Freddie Wadling,
Grandmaster Flash,
Boredoms,
JFA,
Max Romeo,
Anakelly,
Lalo Schifrin,
Country Joe & The Fish,
OOIOO,
Cal Tjader,
The Slackers,
Sällskapet,
Dual Sessions,
Idris Muhammad,
Deakin,
Jerry Gold Smith,
Amazonics,
Roxette,
Faraquet,
Boogie Down Productions,
Underground Resistance,
Amon Düül II,
Andrew Ashong & Theo Parrish,
Gil Scott-Heron and Jamie xx,
Delta 5,
Magazine,
Procol Harum,
Groovy Waters,
Larry & the Blue Notes,
The Grass Roots,
The New Christs,
Skarface,
Moby Grape,
Kayak,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.