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 Angola and from Stockholm.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Nick Fraelich to the rap kids.
I played it at the Astoria.
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 U.S. Maple. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Fluxion 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 '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Absolute Body Control,
The Jesus and Mary Chain,
Skaos,
The Fall,
Harmonia,
Brand Nubian,
Banda Bassotti,
the Fania All-Stars,
The Gories,
Yusef Lateef,
Spandau Ballet,
Bush Tetras,
Roger Hodgson,
Avey Tare's Slasher Flicks,
Kerrie Biddell,
Wasted Youth,
Minny Pops,
Andrew Ashong & Theo Parrish,
Vainqueur,
FM Einheit,
Be Bop Deluxe,
Vladislav Delay,
Spoonie Gee,
Neil Young & Crazy Horse,
The Cure,
Fugazi,
Louis and Bebe Barron,
Slave,
Roy Ayers Ubiquity,
John Coltrane,
Juan Atkins,
Laurel Aitken,
Avey Tare & Kría Brekkan,
The Dead C,
Bobby Womack,
Rowland S Howard / Lydia Lunch,
Bad Manners,
Von Mondo,
Maleditus Sound,
Loose Ends,
John Lydon,
The Leaves,
Thee Headcoats,
Beasts of Bourbon,
Crooked Eye,
Heaven 17,
The Pretty Things,
H. Thieme,
Fear,
Tim Buckley,
The Royal Family And The Poor,
Television Personalities,
The Modern Lovers,
Technova,
10cc,
Ultra Naté,
Minutemen,
Slick Rick,
Hashim,
The Mummies,
Cluster, Cluster, Cluster, Cluster.
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.