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 Mongolia and from Columbus.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Woodstock and New York.
I'm losing my edge to the art-school Salvador 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 snare sounds with much patience.
I was there when Holger Czukay 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 Circle Jerks to the punk kids.
I played it at the Troubador.
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 Art Ensemble Of Chicago. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every The Move 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Bluetip,
The Sisters of Mercy,
Crispy Ambulance,
Pantaleimon,
Tubeway Army,
Sister Nancy,
Bill Wells,
PIL,
Gil Scott Heron,
Excepter,
The Busters,
E-Dancer,
Beasts of Bourbon,
The Jesus and Mary Chain,
China Crisis,
The Cowsills,
Faraquet,
Notorious BIG live in Amsterdam,
Hasil Adkins,
Basic Channel,
Bootsy's Rubber Band,
Lou Reed & John Cale,
Manfred Mann's Earth Band,
The Birthday Party,
Lou Reed,
The Motions,
Gil Scott-Heron and Jamie xx,
Guru Guru,
Lafayette Afro Rock Band,
The Golliwogs,
The Knickerbockers,
Quantec,
Pierre Henry,
Kings Of Tomorrow,
Bobby Sherman,
Depeche Mode,
James White and The Blacks,
Camouflage,
Simply Red,
The Gun Club,
Boz Scaggs,
Archie Shepp,
Sixth Finger,
The Litter,
Can,
The Monks,
The Names,
Warsaw,
Suburban Knight,
Theoretical Girls,
the Fania All-Stars,
John Lydon,
Thinking Fellers Union Local 282,
X-101,
Kool G Rap & DJ Polo,
Sound Behaviour,
Main Source,
Fatback Band,
Dawn Penn,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.