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 Senegal and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Delhi and Milan.
I'm losing my edge to the art-school Calgary 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 arpeggiator 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 Avey Tare to the crunk 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 Lee Hazlewood. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal grime 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Scion 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?
Man Parrish,
Icehouse,
Manfred Mann's Earth Band,
Oneida,
Interpol,
Arcadia,
Sam Rivers,
Sex Pistols,
Ultramagnetic MC's,
Bob Dylan,
Rites of Spring,
The Moleskins,
Notorious BIG live in Amsterdam,
Pierre Henry,
Echo & the Bunnymen,
Lebanon Hanover,
Angels of Light & Akron/Family,
Eli Mardock,
Procol Harum,
Richard Hell and the Voidoids,
The Zeros,
Warren Ellis,
Pet Shop Boys,
MC5,
Soul II Soul,
Jacob Miller,
Khruangbin,
Roxy Music,
Mad Mike,
Oppenheimer Analysis,
Freddie Wadling,
Television,
Ralphi Rosario,
Ten City,
A Flock of Seagulls,
Black Bananas,
Deakin,
Masters at Work,
Section 25,
Hoover,
Darondo,
Lungfish,
Japan,
Maleditus Sound,
Pussy Galore,
Magazine,
Soft Machine,
Agitation Free,
Kenny Larkin,
Ronan,
Roxette,
Terror Squad Feat. Camron,
Young Marble Giants,
Little Man,
Janne Schatter,
Alison Limerick,
Eden Ahbez,
E-Dancer,
Andrew Ashong & Theo Parrish,
Ludus,
Tres Demented,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.