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 Venezuela and from New York.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1979.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Copenhagen 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 chamberlin 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 Pussy Galore to the dance kids.
I played it at Cafe Wha.
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 Shoche. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Hardrive,
The Kinks,
U.S. Maple,
Sixth Finger,
Brass Construction,
Circle Jerks,
Sister Nancy,
Depeche Mode,
Andrew Hill,
The Walker Brothers,
The Martian,
Sad Lovers and Giants,
Warren Ellis,
A Certain Ratio,
Glenn Branca,
Dr. Dre and Snoop Doggy Dog,
Rod Modell,
Yellowson,
The Divine Comedy,
Alison Limerick,
Echo & the Bunnymen,
Accadde A,
The Fortunes,
Magazine,
The Pop Group,
The Toasters,
Jesper Dahlbäck,
Sonny Sharrock,
Lucky Dragons,
Michelle Simonal,
Patti Smith,
Sound Behaviour,
Alphaville,
Infiniti,
Art Ensemble Of Chicago,
DNA,
The Associates,
FM Einheit,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Roy Ayers,
Moby Grape,
Danielle Patucci,
Fela Kuti,
Skriet,
Duran Duran,
John Foxx,
Carl Craig,
Index,
The Pretty Things,
Dawn Penn,
Stockholm Monsters,
Can,
Theoretical Girls,
Pet Shop Boys,
Supertramp,
Todd Rundgren,
The Fall,
Terry Callier,
Malaria!,
Aural Exciters,
Camouflage,
The Busters,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.