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 Lebanon and from Manila.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Woodstock.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the oboe 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 Franke to the dance kids.
I played it at the Troubador.
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 Bill Wells. All the underground hits.
All Nico tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
48th St. Collective,
Laurel Aitken,
Young Marble Giants,
Kango’s Stein Massive,
Royal Trux,
Sonic Youth,
Minny Pops,
Lalann,
These Immortal Souls,
Pylon,
Ultramagnetic MC's,
Gabor Szabo,
Interpol,
Popol Vuh,
Cymande,
Cecil Taylor,
Sight & Sound,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
MC5,
Niagra,
Gong,
The Cosmic Jokers,
Fat Boys,
Crispy Ambulance,
Angry Samoans,
Banda Bassotti,
Au Pairs,
Eden Ahbez,
Toni Rubio,
Notorious Big And Bone Thugs,
Robert Hood,
Pole,
Magma,
The Monks,
Pagans,
The New Christs,
Grey Daturas,
Man Eating Sloth,
Eli Mardock,
Notorious BIG live in Amsterdam,
Smog,
The Happenings,
The Techniques,
R.M.O.,
Parry Music,
London Community Gospel Choir,
The Cramps,
Fear,
Aural Exciters,
New Age Steppers,
Graham Central Station,
David Axelrod,
Fela Kuti,
Chris & Cosey,
Fad Gadget,
The Dirtbombs,
Jesper Dahlback,
Q and Not U,
Derrick May,
Roy Ayers,
Eyeless In Gaza,
Liaisons Dangereuses,
The Doors, The Doors, The Doors, The Doors.
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.