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 Syria and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 linndrum sounds with much patience.
I was there when David Bowie 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 Grass Roots to the punk kids.
I played it at Trash.
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 The Evens. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Can,
a-ha,
Idris Muhammad,
Hot Snakes,
Jeff Mills,
The Doobie Brothers,
The New Christs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
UT,
Chris Corsano,
Sandy B,
Derrick May,
the Sonics,
Fort Wilson Riot,
Spandau Ballet,
Maurizio,
Larry & the Blue Notes,
Mission of Burma,
Röyhkä ja Rättö ja Lehtisalo,
Royal Trux,
Bang On A Can,
Public Image Ltd.,
The Offenders,
The Velvet Underground,
Los Fastidios,
Pantytec,
The Victims,
Jacob Miller,
Amon Düül,
Black Flag,
Orchestral Manoeuvres in the Dark,
Lou Reed & Metallica,
Schoolly D,
Inner City,
Brick,
Wally Richardson,
Deepchord,
Wolf Eyes,
Johnny Clarke,
Spoonie Gee,
Avey Tare,
Louis and Bebe Barron,
Reagan Youth,
The Invisible,
Nirvana,
MDC,
Jawbox,
Lightning Bolt,
Sällskapet,
Dennis Brown,
The Barracudas,
Soulsonic Force,
Mark Hollis,
Terry Callier,
Television,
Scrapy,
Fat Boys,
The Walker Brothers,
Lyres,
Easy Going,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.