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 Jamaica and from Mumbai.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Salvador and Delhi.
I'm losing my edge to the art-school Mumbai 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Girls At Our Best! to the jazz kids.
I played it at the Hacienda.
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 Average White Band. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every Piero Umiliani record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
FM Einheit,
Black Bananas,
Gerry Rafferty,
Technova,
Alison Limerick,
Deepchord,
Flipper,
Neil Young,
Rites of Spring,
Brand Nubian,
Liaisons Dangereuses,
CMW,
Rosa Yemen,
Animal Collective,
U.S. Maple,
Avey Tare,
Duran Duran,
Davy DMX,
Mandrill,
Roxy Music,
Nas,
Grey Daturas,
Johnny Osbourne,
the Germs,
Crash Course in Science,
Roger Hodgson,
Rekid,
The Remains,
Louis and Bebe Barron,
James White and The Blacks,
Soul II Soul,
Interpol,
Young Marble Giants,
Dual Sessions,
Max Romeo,
Rotary Connection,
Minny Pops,
Barrington Levy,
Liliput,
Aswad,
New Age Steppers,
the Bar-Kays,
Avey Tare & Kría Brekkan,
The Grass Roots,
The Men They Couldn't Hang,
Bob Dylan,
Half Japanese,
Wolf Eyes,
Fear,
Donald Byrd,
Con Funk Shun,
Metal Thangz,
The American Breed,
Saccharine Trust,
Rhythm & Sound,
The Star Department,
Ponytail,
One Last Wish,
The Monochrome Set,
Camberwell Now,
Warsaw, Warsaw, Warsaw, Warsaw.
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.