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 Costa Rica 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 1963 to 1970.
I'm losing my edge.
To all the kids in New York and Salvador.
I'm losing my edge to the art-school Philadelphia 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 snare 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 Residents to the grime kids.
I played it at CBGB's.
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 Louis and Bebe Barron. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
JFA,
Section 25,
The Five Americans,
Crispian St. Peters,
Nik Kershaw,
Crash Course in Science,
This Heat,
ABBA,
Marine Girls,
Tears for Fears,
Colin Newman,
Bush Tetras,
Faust,
Al Stewart,
Boogie Down Productions,
kango's stein massive,
Young Marble Giants,
Tom Boy,
Brand Nubian,
Roxy Music,
Sex Pistols,
De La Soul & Jungle Brothers,
The Motions,
Scott Walker,
Zero Boys,
The Cosmic Jokers,
Eden Ahbez,
Franke,
The Evens,
Byron Stingily,
The Seeds,
Bobby Sherman,
The Walker Brothers,
Joey Negro,
Ponytail,
Yusef Lateef,
Chris Corsano,
Tommy Roe,
Yazoo,
Lyres,
Pharaoh Sanders and the Fire Engines,
Nick Cave & The Bad Seeds,
Don Cherry,
Procol Harum,
Grandmaster Flash and the Furious Five,
Anthony Braxton,
Lalann,
The Tremeloes,
Joe Smooth,
Electric Light Orchestra,
Rahsaan Roland Kirk,
Gerry Rafferty,
Ultravox,
Rosa Yemen,
Metal Thangz,
Rufus Thomas,
Popol Vuh,
the Normal,
Soul II Soul,
The Moody Blues,
Wings,
Average White Band,
China Crisis, China Crisis, China Crisis, China Crisis.
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.