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 Chad and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Milan and Seoul.
I'm losing my edge to the art-school Stockholm 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 guitar 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 Germs to the funk 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 Moss Icon. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Scientists,
The Fire Engines,
Bush Tetras,
The Moody Blues,
Davy DMX,
Can,
Mary Jane Girls,
Aural Exciters,
Avey Tare & Kría Brekkan,
UT,
Underground Resistance,
The Dirtbombs,
Derrick May,
Jerry Gold Smith,
Pharaoh Sanders and the Fire Engines,
Pierre Henry,
Marmalade,
Traffic Nightmare,
Sällskapet,
Neu!,
Al Stewart,
The Flesh Eaters,
Nico,
T. Rex,
Stiv Bators,
The Saints,
The Golliwogs,
Audionom,
Vladislav Delay,
James White and The Blacks,
Mandrill,
Subhumans,
The Sonics,
Quadrant,
The Last Poets,
Jesper Dahlbäck,
Pagans,
Eden Ahbez,
Buzzcocks,
Danielle Patucci,
Lou Reed & Metallica,
Kenny Larkin,
Jandek,
Matthew Bourne,
Alison Limerick,
Laurel Aitken,
Nils Olav,
Lee Hazlewood,
Clear Light,
Amon Düül II,
Agent Orange,
Unwound,
Marshall Jefferson,
Lou Christie,
Kaleidoscope,
Drexciya,
Kool Moe Dee,
Sticky Fingaz feat. Raekwon,
D'Angelo,
Nation of Ulysses,
The Leaves,
Oppenheimer Analysis,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.