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 Belize and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Manchester and Salvador.
I'm losing my edge to the art-school Calgary 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Young Rascals to the grime kids.
I played it at the Hacienda.
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 The Raincoats. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal rap 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 a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Vainqueur,
Faraquet,
Eve St. Jones,
Red Lorry Yellow Lorry,
Clear Light,
Scan 7,
Suburban Knight,
Monks,
Connie Case,
The Gladiators,
The Five Americans,
The Cramps,
Monolake,
ABBA,
Pere Ubu,
Rekid,
E-Dancer,
LL Cool J,
Aaron Thompson,
The Cowsills,
the Bar-Kays,
Michelle Simonal,
Ultravox,
Eric Dolphy,
Intrusion,
Von Mondo,
Rhythm & Sound,
Lee Hazlewood,
Nation of Ulysses,
The New Christs,
Pylon,
KRS-One,
Rod Modell,
Kerri Chandler,
Pole,
John Lydon,
Main Source,
Wasted Youth,
The Sonics,
Oppenheimer Analysis,
Thinking Fellers Union Local 282,
Guru Guru,
Prince Buster,
CMW,
David Bowie,
Minor Threat,
B.T. Express,
Leonard Cohen,
Franke,
Black Moon,
Bobby Sherman,
Jerry's Kids,
The Fuzztones,
Deadbeat,
The Durutti Column,
The Walker Brothers,
Nico,
The Music Machine,
Bootsy's Rubber Band,
Lizzy Mercier Descloux,
Colin Newman,
The Count Five,
Symarip,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.