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 Ecuador and from Spokane.
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 1977.
I'm losing my edge.
To all the kids in Lyon and Edmonton.
I'm losing my edge to the art-school Bremen 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro 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 Prince Buster 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 David Bowie. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Curtis Mayfield record on German import.
I heard that you have a white label of every seminal techno 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Goldenarms,
Von Mondo,
Ultravox,
Kool Moe Dee,
Terry Callier,
The West Coast Pop Art Experimental Band,
The Moleskins,
Tom Boy,
Johnny Clarke,
The Cramps,
Bootsy Collins,
Mary Jane Girls,
Gabor Szabo,
Man Parrish,
Ten City,
Jandek,
Byron Stingily,
The Buckinghams,
Fela Kuti,
Tim Buckley,
the Soft Cell,
Electric Light Orchestra,
Negative Approach,
Kurtis Blow,
The Skatalites,
One Last Wish,
Teenage Jesus and the Jerks,
Dual Sessions,
Sarah Menescal,
Loose Ends,
James Chance & The Contortions,
Dawn Penn,
The Music Machine,
Terrestrial Tones,
ABBA,
the Slits,
Gang Gang Dance,
Agent Orange,
Massinfluence,
David Bowie,
Pharaoh Sanders and the Fire Engines,
Reuben Wilson,
Pagans,
The Gap Band,
Interpol,
Quando Quango,
Kool G Rap & DJ Polo,
David McCallum,
Whodini,
Alice Coltrane,
Wings,
Stetsasonic,
MC5,
Bill Wells,
Echo & the Bunnymen,
Sunsets and Hearts,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jesper Dahlback,
Deepchord,
LL Cool J,
Zero Boys,
Mars,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.