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 Uzbekistan and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Lyon.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Nick Fraelich to the disco kids.
I played it at Cafe Wha.
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 Graham Central Station. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Brand Nubian,
Lightning Bolt,
Wolf Eyes,
Joe Smooth,
Gil Scott-Heron & Brian Jackson,
Yaz,
Rosa Yemen,
Eve St. Jones,
Jesper Dahlbäck,
Fort Wilson Riot,
The Fuzztones,
Deutsch Amerikanische Freundschaft,
Fifty Foot Hose,
Major Organ And The Adding Machine,
Avey Tare,
Wally Richardson,
The Fugs,
Marmalade,
Jacques Brel,
The American Breed,
Notorious BIG live in Amsterdam,
Gerry Rafferty,
Sandy B,
Charles Mingus,
Adolescents,
La Düsseldorf,
Rites of Spring,
New Order,
Bob Dylan,
Joey Negro,
Kerri Chandler,
Funky Four + One,
Man Eating Sloth,
Toni Rubio,
The Barracudas,
Easy Going,
Ken Boothe,
Arab on Radar,
Derrick Morgan,
Tropical Tobacco,
Amon Düül,
The Count Five,
Magazine,
Ornette Coleman,
Donny Hathaway,
Slave,
The Smoke,
In Retrospect,
Camron Feat. Memphis Bleek And Beenie Seigel,
Urselle,
Warsaw,
Graham Central Station,
Al Stewart,
The Skatalites,
Technova,
Deepchord,
Wire,
Minor Threat,
48th St. Collective,
Andrew Ashong & Theo Parrish,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.