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 Panama and from Lagos.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Accra 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Danielle Patucci to the techno 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 These Immortal Souls. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Teenage Jesus and the Jerks,
Lalann,
The Gories,
Funkadelic,
Lee Hazlewood,
Sonny Sharrock,
Scratch Acid,
Girls At Our Best!,
Davy DMX,
Dead Boys,
Notorious BIG live in Amsterdam,
Be Bop Deluxe,
Tommy Roe,
The Tremeloes,
Ice-T,
Warsaw,
Duran Duran,
Bootsy Collins,
The Young Rascals,
Rekid,
Sällskapet,
The Associates,
Ohio Players,
Gichy Dan,
Prince Buster,
David Axelrod,
Cabaret Voltaire,
Clear Light,
Angry Samoans,
Bauhaus,
Agitation Free,
Sarah Menescal,
Dual Sessions,
Monks,
Sticky Fingaz feat. Raekwon,
Mad Mike,
Slave,
Terry Callier,
Unwound,
Gregory Isaacs,
Gastr Del Sol,
Swell Maps,
Boogie Down Productions,
Jacques Brel,
The Golliwogs,
Fear,
Trumans Water,
Rhythim Is Rhythim,
The Sound,
The Kinks,
Rakim,
the Association,
Susan Cadogan,
Minor Threat,
Scan 7,
Crispy Ambulance,
Roxy Music,
The Detroit Cobras,
The Peanut Butter Conspiracy,
Ultra Naté,
Jandek,
Little Man, Little Man, Little Man, Little Man.
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.