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 Guyana and from Johannesburg.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Spokane and Tehran.
I'm losing my edge to the art-school Copenhagen 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 David Bowie 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 Modern Lovers to the grime kids.
I played it at Trash.
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 Ornette Coleman. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Audionom 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Urselle,
Aaron Thompson,
Mary Jane Girls,
Black Flag,
The Detroit Cobras,
Oblivians,
The Vogues,
Ajijia Myrayebe,
Hashim,
The Five Americans,
Infiniti,
Lou Reed & John Cale,
U.S. Maple,
Bob Dylan,
Toni Rubio,
Basic Channel,
Khruangbin,
Fluxion,
Althea and Donna,
Chris & Cosey,
Isaac Hayes,
Quantec,
Sun Ra Arkestra,
Scratch Acid,
The Mojo Men,
Radio Birdman,
Eurythmics,
Eve St. Jones,
The Mummies,
Deakin,
The Electric Prunes,
Supertramp,
James Chance & The Contortions,
Lightning Bolt,
Suburban Knight,
AZ,
Monolake,
The Sisters of Mercy,
Peter & Gordon,
Röyhkä ja Rättö ja Lehtisalo,
Flamin' Groovies,
Liliput,
Fad Gadget,
CMW,
Drive Like Jehu,
The Slackers,
Radiopuhelimet,
Zapp,
Amazonics,
Crispy Ambulance,
R.M.O.,
Ornette Coleman,
Soulsonic Force,
Bobbi Humphrey,
Dawn Penn,
Jerry's Kids,
Lalann,
James White and The Blacks,
Andrew Ashong & Theo Parrish,
Public Image Ltd.,
The Move,
The Happenings,
The Stooges, The Stooges, The Stooges, The Stooges.
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.