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 Samoa and from Portland.
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 1974.
I'm losing my edge.
To all the kids in Edmonton and Johannesburg.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Raincoats to the electroclash kids.
I played it at the Crocodile.
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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Eurythmics 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Babytalk,
48th St. Collective,
Rites of Spring,
Art Ensemble Of Chicago,
Arab on Radar,
The Durutti Column,
Alison Limerick,
Hasil Adkins,
The United States of America,
the Normal,
Tim Buckley,
U.S. Maple,
The Seeds,
Lucky Dragons,
Heavy D & The Boyz,
Accadde A,
The Evens,
the Association,
The Dave Clark Five,
Visage,
Lou Reed & John Cale,
Gong,
Harry Pussy,
The Toasters,
Godley & Creme,
The Shadows of Knight,
The Grass Roots,
Gang Starr,
Scion,
Mark Hollis,
Desert Stars,
Hardrive,
Warsaw,
Robert Görl,
Ultravox,
Roy Ayers,
John Cale,
Jesper Dahlbäck,
Soul Sonic Force,
Youth Brigade,
Crash Course in Science,
Sexual Harrassment,
Marc Romboy vs. Booka Shade,
The Gap Band,
Kool G Rap & DJ Polo,
The Trojans,
Graham Central Station,
Bill Near,
the Bar-Kays,
The Moleskins,
the Swans,
Brand Nubian,
Chris & Cosey,
Tom Boy,
Bang on a Can All-Stars,
Erykah Badu,
The J.B.'s,
Amazonics,
John Lydon,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.