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 Sri Lanka and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Houston and Milan.
I'm losing my edge to the art-school Johannesburg 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar 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 Q65 to the techno kids.
I played it at the Astoria.
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 The United States of America. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
The Modern Lovers,
Pagans,
Slick Rick,
Black Pus,
James Chance & The Contortions,
Robert Görl,
Notorious Big And Bone Thugs,
Banda Bassotti,
Crispy Ambulance,
kango's stein massive,
Nils Olav,
The Cure,
Nas,
Bobby Hutcherson,
The Litter,
Ultra Naté,
Flash Fearless,
The Leaves,
Johnny Osbourne,
Tim Buckley,
Prince Buster,
Bill Wells,
Art Ensemble Of Chicago,
Negative Approach,
June Days,
Cal Tjader,
The Divine Comedy,
Agitation Free,
Bobbi Humphrey,
Eden Ahbez,
Lou Christie,
Scrapy,
Dawn Penn,
De La Soul & Jungle Brothers,
Gil Scott-Heron and Jamie xx,
Y Pants,
Crooked Eye,
Curtis Mayfield,
Spoonie Gee,
Massinfluence,
Goldenarms,
The Victims,
Minnie Riperton,
Maleditus Sound,
Masters at Work,
Dorothy Ashby,
The Cosmic Jokers,
The Real Kids,
The Beau Brummels,
Panda Bear,
Barclay James Harvest,
OOIOO,
the Sonics,
Liliput,
Flamin' Groovies,
A Certain Ratio,
The Mojo Men,
Technova,
The Invisible,
Man Parrish,
Crash Course in Science,
The Toasters, The Toasters, The Toasters, The Toasters.
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.