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 Laos and from Portland.
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 1977.
I'm losing my edge.
To all the kids in Jakarta and Houston.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare 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 Funky Four + One to the rock kids.
I played it at the 40 Watt.
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 Hashim. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Tres Demented record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Bluetip,
Jeru the Damaja,
JFA,
Eli Mardock,
the Slits,
Fifty Foot Hose,
Jesper Dahlbäck,
The Chocolate Watch Band,
The Velvet Underground,
H. Thieme,
Sad Lovers and Giants,
DeepChord presents Echospace,
Monolake,
The Moleskins,
Stereo Dub,
Quadrant,
Gastr Del Sol,
Rakim,
The Slits,
The Vogues,
Thompson Twins,
Sparks,
Al Stewart,
Jandek,
Gichy Dan,
DJ Style,
The United States of America,
EPMD,
Joyce Sims,
Eve St. Jones,
The Pretty Things,
The Music Machine,
The Evens,
Visionaries,LMNO, T- Love & Iriscience,
John Lydon,
The Gap Band,
Section 25,
the Swans,
Clear Light,
Stetsasonic,
Stockholm Monsters,
Godley & Creme,
Fatback Band,
The Alarm Clocks,
Magma,
Yusef Lateef,
Radio Birdman,
Franke,
The Techniques,
Vainqueur,
Lizzy Mercier Descloux,
Fort Wilson Riot,
Erykah Badu,
Tears for Fears,
Circle Jerks,
Neu!,
Deepchord,
Altered Images,
The West Coast Pop Art Experimental Band,
Howard Jones,
Pulsallama,
Los Fastidios,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.