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 Japan and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Lille 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the marimba 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 Monolake to the rap kids.
I played it at the Troubador.
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 Agitation Free. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Sly & The Family Stone 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Harmonia record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
Sex Pistols,
Liaisons Dangereuses,
Mo-Dettes,
Kerrie Biddell,
Flamin' Groovies,
Lungfish,
Vaughan Mason & Crew,
John Lydon,
Oneida,
Bill Near,
Bobby Womack,
Grandmaster Flash and the Furious Five,
Scrapy,
Lightning Bolt,
Newcleus,
The Remains,
Gabor Szabo,
Ronan,
Aaron Thompson,
Banda Bassotti,
Sexual Harrassment,
Charles Mingus,
The Blackbyrds,
Saccharine Trust,
Avey Tare & Kría Brekkan,
Morten Harket,
Sad Lovers and Giants,
Pere Ubu,
Major Organ And The Adding Machine,
Brand Nubian,
Al Stewart,
Theoretical Girls,
The Cowsills,
the Soft Cell,
Soulsonic Force,
D'Angelo,
Yellowson,
Funkadelic,
The Gladiators,
Minnie Riperton,
Little Man,
Jacques Brel,
Pantaleimon,
Wally Richardson,
Rosa Yemen,
Drive Like Jehu,
Arab on Radar,
Royal Trux,
Gang Gang Dance,
Sunsets and Hearts,
Metal Thangz,
Jandek,
Cameo,
Sonic Youth,
Khruangbin,
Terror Squad Feat. Camron,
Darondo,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.