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 Andorra and from Lille.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Spokane and Bremen.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Stooges to the techno kids.
I played it at the Roxy.
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 Los Fastidios. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Idris Muhammad 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Sparks,
Pharoah Sanders,
James Chance & The Contortions,
Darondo,
Deadbeat,
Magazine,
Glenn Branca,
Agent Orange,
The Shadows of Knight,
Super Lover Cee & Casanova Rud,
Warren Ellis,
The Modern Lovers,
Bang on a Can All-Stars,
Danielle Patucci,
The Misunderstood,
Monolake,
The Tremeloes,
ABBA,
Ossler,
Blake Baxter,
Morten Harket,
E-Dancer,
Pylon,
Aswad,
Scratch Acid,
Dr. Dre and Snoop Doggy Dog,
Rekid,
Toni Rubio,
Jimmy McGriff,
Mo-Dettes,
The Blues Magoos,
Public Enemy,
The Fire Engines,
Animal Collective,
F. McDonald,
Carl Craig,
Brass Construction,
The Cowsills,
Angry Samoans,
Altered Images,
The Techniques,
Jesper Dahlbäck,
Soft Machine,
Bizarre Inc.,
Yusef Lateef,
Lou Christie,
Ken Boothe,
The Golliwogs,
Boogie Down Productions,
Stetsasonic,
Ultimate Spinach,
Lou Reed & John Cale,
The Durutti Column,
Icehouse,
Junior Murvin,
Marc Romboy vs. Booka Shade,
The West Coast Pop Art Experimental Band,
Girls At Our Best!,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.