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 Luxembourg and from Tokyo.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Tehran and Winnipeg.
I'm losing my edge to the art-school Woodstock 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 sitar 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 Sugar Minott to the rock kids.
I played it at Cafe Wha.
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 Jeru the Damaja. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Pete Rock & C.L. Smooth,
Rakim,
Mark Hollis,
The Cure,
Erykah Badu,
Cameo,
Ajijia Myrayebe,
David Axelrod,
Alison Limerick,
Royal Trux,
Big Daddy Kane,
Lee Hazlewood,
Orchestral Manoeuvres in the Dark,
Joyce Sims,
The Velvet Underground,
Lizzy Mercier Descloux,
Josef K,
Angry Samoans,
Flipper,
Simply Red,
The Royal Family And The Poor,
Joensuu 1685,
The Music Machine,
Soft Machine,
Jesper Dahlbäck,
Pantytec,
Jacob Miller,
Terrestrial Tones,
The Smiths,
The Blackbyrds,
Theoretical Girls,
The Move,
Sly & The Family Stone,
Idris Muhammad,
Albert Ayler,
Pulsallama,
The Electric Prunes,
The Sound,
H. Thieme,
Faust,
X-102,
Swans,
Flash Fearless,
Rosa Yemen,
Wasted Youth,
Public Enemy,
Popol Vuh,
T. Rex,
Cabaret Voltaire,
Crispy Ambulance,
Nation of Ulysses,
Curtis Mayfield,
Audionom,
Swell Maps,
The Zeros,
The Peanut Butter Conspiracy,
Sugar Minott,
Justin Hinds & The Dominoes,
Drive Like Jehu,
the Fania All-Stars,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.