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 Japan and from Taipei.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Tehran.
I'm losing my edge to the art-school Houston 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the synthesizer 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 The Mojo Men to the crunk kids.
I played it at the Hacienda.
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 Q and Not U. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every the Association 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
the Swans,
Althea and Donna,
Procol Harum,
Magazine,
Chrome,
Sunsets and Hearts,
John Coltrane,
Animal Collective,
10cc,
Teenage Jesus and the Jerks,
T.S.O.L.,
48th St. Collective,
R.M.O.,
Faraquet,
The Move,
Lou Reed & John Cale,
The Standells,
Bill Near,
Lou Reed & Metallica,
Reuben Wilson,
Hoover,
Godley & Creme,
Sexual Harrassment,
Albert Ayler,
Pantaleimon,
The Young Rascals,
James Chance & The Contortions,
Wighnomy Brothers & Robag Wruhme,
Jesper Dahlback,
The Fortunes,
Grauzone,
Infiniti,
Guru Guru,
The Red Krayola,
This Heat,
Anakelly,
Fatback Band,
The Dead C,
DJ Style,
Erykah Badu,
Rotary Connection,
Matthew Halsall,
The Smoke,
Outsiders,
The Gories,
Nick Cave & The Bad Seeds,
La Düsseldorf,
Amon Düül II,
Deadbeat,
Sarah Menescal,
Interpol,
Liliput,
Tropical Tobacco,
Jerry Gold Smith,
The Monochrome Set,
A Certain Ratio,
Ultra Naté,
Mad Mike,
The Remains,
UT,
The Alarm Clocks,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.