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 Sudan and from Tehran.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Spokane.
I'm losing my edge to the art-school Paris 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart 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 Barclay James Harvest to the funk kids.
I played it at the Astoria.
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 Vogues. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Connie Case,
Be Bop Deluxe,
Godley & Creme,
Sandy B,
Angry Samoans,
Quando Quango,
Section 25,
New Age Steppers,
Marcia Griffiths,
Jerry Gold Smith,
Rotary Connection,
Pagans,
Monks,
the Soft Cell,
Camron Feat. Jay Z And Juelz,
Kool G Rap & DJ Polo,
Rites of Spring,
Chrome,
Franke,
Big Daddy Kane,
Pantytec,
Michelle Simonal,
Lucky Dragons,
The Slits,
Sight & Sound,
Motorama,
Unwound,
Rahsaan Roland Kirk,
Monolake,
Marc Romboy vs. Booka Shade,
The Buckinghams,
Technova,
Skaos,
The Last Poets,
the Normal,
Warsaw,
Guru Guru,
The Offenders,
The Cosmic Jokers,
Roger Hodgson,
Index,
Dual Sessions,
Marshall Jefferson,
Subhumans,
The Flesh Eaters,
Ultra Naté,
Delon & Dalcan,
Robert Görl,
Supertramp,
Orchestral Manoeuvres in the Dark,
The Shadows of Knight,
Procol Harum,
Cal Tjader,
Andrew Hill,
Peter Gordon & Love of Life Orchestra,
Art Ensemble Of Chicago,
Brass Construction,
Marmalade,
Slave,
Ten City, Ten City, Ten City, Ten City.
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.