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 Namibia and from Beijing.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Delhi.
I'm losing my edge to the art-school Spokane 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb 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 Chrome to the techno 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 Deadbeat. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
The New Christs,
Louis and Bebe Barron,
Maurizio,
The Happenings,
Mary Jane Girls,
The Selecter,
Bill Wells,
Q and Not U,
The Associates,
Aloha Tigers,
Crooked Eye,
Massinfluence,
Saccharine Trust,
Terrestrial Tones,
Country Joe & The Fish,
Traffic Nightmare,
Loose Ends,
DNA,
Bauhaus,
Girls At Our Best!,
Vladislav Delay,
The Cowsills,
Animal Collective,
Harry Pussy,
Sunsets and Hearts,
DeepChord presents Echospace,
Niagra,
Black Moon,
Don Cherry,
Neil Young & Crazy Horse,
Michelle Simonal,
The Evens,
Roy Ayers,
Frankie Knuckles,
The Sound,
Colin Newman,
Quantec,
Nirvana,
Soft Cell,
Chris & Cosey,
Harpers Bizarre,
Liliput,
Barrington Levy,
The Alarm Clocks,
Erykah Badu,
the Slits,
A Flock of Seagulls,
Sarah Menescal,
Young Marble Giants,
Scan 7,
Marc Almond,
Kool G Rap & DJ Polo,
The Flesh Eaters,
Andrew Ashong & Theo Parrish,
Stockholm Monsters,
Kerri Chandler,
F. McDonald,
Hot Snakes,
AZ,
Nils Olav,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.