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 Saudi Arabia and from Manila.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
I'm losing my edge to the art-school Delhi 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Sonics to the jazz 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 Joyce Sims. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Marc Almond,
Piero Umiliani,
F. McDonald,
One Last Wish,
Heaven 17,
B.T. Express,
Mr. Review,
Desert Stars,
Skriet,
Sarah Menescal,
Donny Hathaway,
The Cowsills,
Tears for Fears,
Cluster,
The Techniques,
Fat Boys,
Eden Ahbez,
Derrick Morgan,
The Sonics,
Rosa Yemen,
Jawbox,
Wings,
Louis and Bebe Barron,
The Neon Judgement,
Derrick May,
Inner City,
June of 44,
Terrestrial Tones,
James White and The Blacks,
The Doors,
Todd Terry,
Public Enemy,
Lightning Bolt,
Lebanon Hanover,
Brick,
The Litter,
Aswad,
Thinking Fellers Union Local 282,
Wasted Youth,
Ossler,
Yellowson,
Schoolly D,
Symarip,
Sam Rivers,
Massinfluence,
Parry Music,
Q and Not U,
The Saints,
Siouxsie and the Banshees,
Guru Guru,
Lizzy Mercier Descloux,
Laurel Aitken,
Hot Snakes,
The Stooges,
The Fortunes,
John Coltrane,
Chris Corsano,
Von Mondo,
Animal Collective,
Barry Ungar,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.