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 Senegal and from Spokane.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Spokane.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Art Ensemble Of Chicago to the rap 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 A Flock of Seagulls. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Eyeless In Gaza 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Rahsaan Roland Kirk,
Crash Course in Science,
The Invisible,
Mo-Dettes,
Dual Sessions,
Brass Construction,
Marmalade,
Panda Bear,
Colin Newman,
Glenn Branca,
The Knickerbockers,
Soft Cell,
Kool Moe Dee,
Laurel Aitken,
Jandek,
Blake Baxter,
Dave Gahan,
Letta Mbulu,
Deepchord,
the Swans,
Terry Callier,
The Moody Blues,
Niagra,
The Count Five,
Sun City Girls,
Quantec,
Echospace,
Radiohead,
June of 44,
Andrew Hill,
Deadbeat,
The Human League,
Depeche Mode,
Deutsch Amerikanische Freundschaft,
Sad Lovers and Giants,
The Gladiators,
Idris Muhammad,
Roger Hodgson,
Rhythm & Sound,
Swell Maps,
Ultra Naté,
Trumans Water,
The Jesus and Mary Chain,
Visage,
Pylon,
Stiv Bators,
The Electric Prunes,
Joe Finger,
the Germs,
Gang of Four,
Derrick May,
Country Joe & The Fish,
Röyhkä ja Rättö ja Lehtisalo,
Surgeon,
Yazoo,
Man Parrish,
Howard Jones,
Ornette Coleman,
Archie Shepp,
Sticky Fingaz feat. Raekwon,
Reagan Youth,
Shoche,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.