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 Iceland and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Toronto 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Bang On A Can to the electroclash 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 Terrestrial Tones. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal rock 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 a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a MC5 record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Procol Harum,
Sex Pistols,
Porter Ricks,
8 Eyed Spy,
Liliput,
Zapp,
Black Sheep,
Lalann,
Swans,
Smog,
Magazine,
The Divine Comedy,
Jesper Dahlback,
The Selecter,
Cecil Taylor,
The Blackbyrds,
Malaria!,
The Five Americans,
Bobby Byrd,
Marcia Griffiths,
Groovy Waters,
Fatback Band,
T. Rex,
48th St. Collective,
The Toasters,
Oneida,
June Days,
Silicon Teens,
Soft Machine,
JFA,
Soulsonic Force,
Royal Trux,
The Count Five,
Ultimate Spinach,
ABBA,
Lakeside,
The Raincoats,
Aaron Thompson,
Lightning Bolt,
Juan Atkins,
Mantronix,
Fluxion,
Davy DMX,
Thinking Fellers Union Local 282,
Orchestral Manoeuvres in the Dark,
Jacob Miller,
Freddie Wadling,
Visage,
Saccharine Trust,
Derrick May,
Skriet,
Yazoo,
Audionom,
Rod Modell,
Joey Negro,
The Standells,
Sparks,
Moss Icon,
The Trojans,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.