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 Laos and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Milan and Toronto.
I'm losing my edge to the art-school Beijing 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Ronnie Foster to the electroclash kids.
I played it at the Crocodile.
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 Sällskapet. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every The Mighty Diamonds 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 '70s cut and another box set from the '80s.
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 Bob Dylan record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Pole,
Mo-Dettes,
Bizarre Inc.,
Lucky Dragons,
Robert Hood,
Niagra,
Dawn Penn,
The Victims,
The Sound,
Todd Rundgren,
Chris Corsano,
Freddie Wadling,
Stiv Bators,
The Associates,
The Remains,
The Motions,
The Red Krayola,
Mary Jane Girls,
Lou Reed & Metallica,
The Walker Brothers,
The Buckinghams,
MDC,
Deepchord,
Man Parrish,
Saccharine Trust,
Tom Boy,
The Evens,
Heaven 17,
Public Image Ltd.,
Q65,
Massinfluence,
Quantec,
Pantaleimon,
Youth Brigade,
Matthew Halsall,
Ash Ra Tempel,
Von Mondo,
Blake Baxter,
Surgeon,
Sonny Sharrock,
Gong,
Country Joe & The Fish,
Dead Boys,
Procol Harum,
Moby Grape,
Lonnie Liston Smith,
Vaughan Mason & Crew,
Derrick Morgan,
Cameo,
Louis and Bebe Barron,
Barclay James Harvest,
James Chance & The Contortions,
Glenn Branca,
Sun City Girls,
The Gun Club,
Orchestral Manoeuvres in the Dark,
Nation of Ulysses,
Pete Rock & C.L. Smooth,
The Kinks, The Kinks, The Kinks, The Kinks.
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.