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 Algeria and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Halifax and Calgary.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Drive Like Jehu to the rap kids.
I played it at the Spitz.
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 Maleditus Sound. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Tropical Tobacco,
Sunsets and Hearts,
Bill Near,
The Trojans,
Liaisons Dangereuses,
Crispian St. Peters,
The Blackbyrds,
Underground Resistance,
F. McDonald,
Pagans,
The Monochrome Set,
Cal Tjader,
World's Most,
The Cosmic Jokers,
Major Organ And The Adding Machine,
Qualms,
The Residents,
Animal Collective,
Marcia Griffiths,
Beasts of Bourbon,
The Gap Band,
Royal Trux,
Juan Atkins,
Byron Stingily,
Can,
Pussy Galore,
Aswad,
Brass Construction,
Rosa Yemen,
Jawbox,
Rufus Thomas,
Tubeway Army,
cv313,
Lower 48,
Camberwell Now,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Teenage Jesus and the Jerks,
Al Stewart,
Wighnomy Brothers & Robag Wruhme,
Das Ding,
Captain Beefheart & His Magic Band,
Little Man,
Gang Green,
Von Mondo,
Deadbeat,
Smog,
The Raincoats,
Lalann,
Eli Mardock,
the Germs,
Boz Scaggs,
Echospace,
The Pop Group,
Joe Smooth,
Bobbi Humphrey,
Crash Course in Science,
Deakin,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dead Boys,
Gian Franco Pienzio,
Graham Central Station,
The Busters,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.