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 Guyana and from Manchester.
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 1975.
I'm losing my edge.
To all the kids in Paris and London.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the spring reverb 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 the Slits to the electroclash kids.
I played it at the Spitz.
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 Lizzy Mercier Descloux. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Royal Trux 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Scott Walker,
Cal Tjader,
The Selecter,
Subhumans,
Gang Gang Dance,
Half Japanese,
The Birthday Party,
Lindisfarne,
Rhythm & Sound,
David Bowie,
The Flesh Eaters,
Don Cherry,
Suburban Knight,
Gil Scott-Heron and Jamie xx,
Intrusion,
The Gories,
ABC,
Bill Near,
Lonnie Liston Smith,
Robert Wyatt,
Dead Boys,
Deadbeat,
Stockholm Monsters,
Scrapy,
The Walker Brothers,
The Moody Blues,
Dark Day,
New York Dolls,
Lalo Schifrin,
Ultravox,
Glenn Branca,
Chris Corsano,
Ohio Players,
Popol Vuh,
B.T. Express,
Grey Daturas,
Nick Cave & The Bad Seeds,
Technova,
Davy DMX,
Bizarre Inc.,
Wighnomy Brothers & Robag Wruhme,
Stereo Dub,
Vladislav Delay,
De La Soul & Jungle Brothers,
Mo-Dettes,
Fort Wilson Riot,
Hashim,
Ronan,
Wire,
The Mojo Men,
The Techniques,
The Slackers,
Television Personalities,
Pete Rock & C.L. Smooth,
Drive Like Jehu,
Godley & Creme,
Inner City,
Rod Modell,
Bobby Hutcherson,
Crispian St. Peters,
the Human League,
Ponytail,
The Wake, The Wake, The Wake, The Wake.
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.