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 Jamaica and from Copenhagen.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Madrid and Manchester.
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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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's Slasher Flicks to the disco 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 Ajijia Myrayebe. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Sad Lovers and Giants 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Liliput,
Max Romeo,
Depeche Mode,
Khruangbin,
Bobbi Humphrey,
Gong,
Echospace,
The Mighty Diamonds,
The Count Five,
Graham Central Station,
The Cure,
Eddi Front,
Monolake,
Gang Starr,
Gian Franco Pienzio,
Soft Cell,
Babytalk,
Vainqueur,
Yaz,
The Cramps,
Strawberry Alarm Clock,
The Beau Brummels,
Flash Fearless,
Echo & the Bunnymen,
Country Teasers,
Unrelated Segments,
Accadde A,
Jimmy McGriff,
The Buckinghams,
Johnny Osbourne,
Beasts of Bourbon,
Leonard Cohen,
Matthew Bourne,
The Moleskins,
Albert Ayler,
kango's stein massive,
The Index,
Joensuu 1685,
The Zeros,
Underground Resistance,
Justin Hinds & The Dominoes,
Arthur Verocai,
Todd Terry,
Dave Gahan,
Lizzy Mercier Descloux,
Pagans,
Louis and Bebe Barron,
Bush Tetras,
Monks,
The Saints,
The Flesh Eaters,
ABC,
John Holt,
Gil Scott-Heron & Brian Jackson,
Curtis Mayfield,
Andrew Ashong & Theo Parrish,
It's A Beautiful Day,
The Busters,
Thompson Twins,
The Sound,
Alton Ellis,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.