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 the UAE and from Tokyo.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Milan and Bremen.
I'm losing my edge to the art-school Lille 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 2001 at the first Tiga practice in a loft in Montreal.
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 Deadbeat to the rap 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 Clear Light. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron 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?
Lizzy Mercier Descloux,
Brick,
Byron Stingily,
Crooked Eye,
Visionaries,LMNO, T- Love & Iriscience,
Liaisons Dangereuses,
Peter Gordon & Love of Life Orchestra,
Rites of Spring,
Gian Franco Pienzio,
Animal Collective,
Drive Like Jehu,
Vainqueur,
Bizarre Inc.,
Rhythim Is Rhythim,
Minny Pops,
Freddie Wadling,
Curtis Mayfield,
Eden Ahbez,
Nick Fraelich,
Terry Callier,
The Associates,
Justin Hinds & The Dominoes,
Scratch Acid,
The Vogues,
Public Image Ltd.,
Rod Modell,
Adolescents,
Radio Birdman,
Scion,
Quantec,
Ludus,
Henry Cow,
Crispy Ambulance,
Aswad,
Sixth Finger,
The Alarm Clocks,
Ponytail,
Stereo Dub,
The Saints,
Young Marble Giants,
The Selecter,
ABBA,
Saccharine Trust,
The Red Krayola,
Half Japanese,
Robert Görl,
Pussy Galore,
Andrew Ashong & Theo Parrish,
Bush Tetras,
The Fall,
Dorothy Ashby,
The Cramps,
Gabor Szabo,
Kerri Chandler,
New York Dolls,
Barrington Levy,
Sandy B,
Bob Dylan,
Jerry Gold Smith,
Bluetip,
The Evens,
Reuben Wilson,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.