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 Nauru and from Bremen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare 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 Skriet to the punk 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 The Toasters. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Oppenheimer Analysis,
Guru Guru,
Von Mondo,
Big Daddy Kane,
Unrelated Segments,
Ohio Players,
Fugazi,
The Motions,
OOIOO,
Crime,
The Index,
Minutemen,
Jawbox,
Ultimate Spinach,
The Birthday Party,
The Moleskins,
Tubeway Army,
Amon Düül II,
Underground Resistance,
Pagans,
Crispian St. Peters,
Minnie Riperton,
James White and The Blacks,
Soft Cell,
Connie Case,
John Lydon,
Quantec,
Dead Boys,
Khruangbin,
Kenny Larkin,
Popol Vuh,
Vaughan Mason & Crew,
Visionaries,LMNO, T- Love & Iriscience,
Adolescents,
In Retrospect,
Darondo,
Nico,
The Neon Judgement,
Alice Coltrane,
Pete Rock & C.L. Smooth,
Derrick Morgan,
Howard Jones,
Soul II Soul,
Q and Not U,
Boogie Down Productions,
Bob Dylan,
Roger Hodgson,
Shoche,
Jacques Brel,
Funky Four + One,
Electric Light Orchestra,
Ash Ra Tempel,
Ultra Naté,
Fifty Foot Hose,
Joey Negro,
Eric B and Rakim,
Rufus Thomas,
Sandy B,
Bobby Hutcherson,
Interpol,
The Seeds,
Franke,
Whodini, Whodini, Whodini, Whodini.
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.