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 Swaziland and from Mexico City.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Bologna.
I'm losing my edge to the art-school Toronto 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 rhodes 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 Aaron Thompson to the grunge kids.
I played it at CBGB's.
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 Flipper. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every The Mummies record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Charles Mingus,
Niagra,
John Cale,
Saccharine Trust,
Bobby Byrd,
Circle Jerks,
Deepchord,
Sandy B,
Hoover,
Nas,
Gil Scott-Heron and Jamie xx,
Mark Hollis,
Iggy Pop,
Suicide,
Amon Düül II,
Warren Ellis,
Shoche,
Juan Atkins,
Bobby Womack,
Lee Hazlewood,
Art Ensemble Of Chicago,
Yaz,
It's A Beautiful Day,
Surgeon,
Basic Channel,
Funkadelic,
The Fall,
Audionom,
Kerrie Biddell,
The Star Department,
Sun City Girls,
Tomorrow,
K-Klass,
Bill Wells,
Sixth Finger,
Country Teasers,
Pussy Galore,
Siglo XX,
Public Image Ltd.,
Major Organ And The Adding Machine,
Neu!,
Index,
Susan Cadogan,
Franke,
Radiopuhelimet,
Crooked Eye,
Deutsch Amerikanische Freundschaft,
EPMD,
The Remains,
Gil Scott Heron,
James White and The Blacks,
Marcia Griffiths,
Terror Squad Feat. Camron,
The Last Poets,
Captain Beefheart & His Magic Band,
Black Sheep,
Parry Music,
Idris Muhammad,
Minutemen,
Yusef Lateef,
Soft Machine,
Ken Boothe,
Big Daddy Kane,
Interpol, Interpol, Interpol, Interpol.
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.