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 Denmark and from Woodstock.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Young Marble Giants to the grime 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 Bang on a Can All-Stars. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Malaria!,
Bill Near,
Scientists,
John Lydon,
the Sonics,
Can,
Tubeway Army,
Neil Young,
Zapp,
10cc,
Amon Düül,
Robert Hood,
Roy Ayers Ubiquity,
Mo-Dettes,
Deepchord,
Q and Not U,
Avey Tare's Slasher Flicks,
Ohio Players,
Ken Boothe,
Von Mondo,
Groovy Waters,
Faust,
The Real Kids,
Judy Mowatt,
Joy Division,
Strawberry Alarm Clock,
Jesper Dahlbäck,
Girls At Our Best!,
Funky Four + One,
Pole,
Ronnie Foster,
Gastr Del Sol,
Althea and Donna,
Television,
Joe Smooth,
Charles Mingus,
Sparks,
Minor Threat,
Kayak,
Banda Bassotti,
the Swans,
Art Ensemble Of Chicago,
Tom Boy,
Rahsaan Roland Kirk,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mission of Burma,
Whodini,
Notorious BIG live in Amsterdam,
Max Romeo,
The J.B.'s,
Tropical Tobacco,
X-Ray Spex,
Swell Maps,
Marc Almond,
FM Einheit,
The Slits,
Dawn Penn,
Lightning Bolt,
Bobby Hutcherson,
Porter Ricks,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.