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 Italy and from Taipei.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Cairo and Madrid.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Oneida to the punk kids.
I played it at the Spitz.
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 a-ha. All the underground hits.
All Nico tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Visionaries,LMNO, T- Love & Iriscience,
Matthew Bourne,
Alison Limerick,
8 Eyed Spy,
The Dave Clark Five,
Heaven 17,
Bill Near,
The Blues Magoos,
Nico,
Excepter,
Lee Hazlewood,
Fatback Band,
the Swans,
Eve St. Jones,
Jacob Miller,
Jeff Mills,
The United States of America,
Godley & Creme,
Kango’s Stein Massive,
Easy Going,
Monks,
Ken Boothe,
Moby Grape,
The Black Dice,
DNA,
Eli Mardock,
Heavy D & The Boyz,
The Shadows of Knight,
The Fortunes,
The J.B.'s,
Joy Division,
The Red Krayola,
Alton Ellis,
Ludus,
N.O.R.E. Featuring Pharrell,
The Move,
The Pop Group,
Camouflage,
Japan,
Blossom Toes,
the Fania All-Stars,
Darondo,
Camron Feat. Memphis Bleek And Beenie Seigel,
R.M.O.,
Wolf Eyes,
Little Man,
Andrew Hill,
The Doobie Brothers,
Jeff Lynne,
Cluster,
Los Fastidios,
Glambeats Corp.,
Ponytail,
The Offenders,
Joensuu 1685,
Amon Düül II,
Spandau Ballet,
The American Breed,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.