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 Iran and from Glasgow.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Tehran 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 snare 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 Sunsets and Hearts to the rock kids.
I played it at the Astoria.
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 Red Lorry Yellow Lorry. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Lou Reed & Metallica record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
ABC,
Michelle Simonal,
Tommy Roe,
Bootsy's Rubber Band,
Joey Negro,
Notorious BIG live in Amsterdam,
Gil Scott-Heron and Jamie xx,
The West Coast Pop Art Experimental Band,
Altered Images,
Blake Baxter,
Eric B and Rakim,
Banda Bassotti,
Gary Puckett & The Union Gap,
The Star Department,
Mary Jane Girls,
Fatback Band,
F. McDonald,
Q65,
The Saints,
Throbbing Gristle,
Hoover,
Tim Buckley,
The Fall,
Pantaleimon,
Barry Ungar,
Bootsy Collins,
Sly & The Family Stone,
Jeru the Damaja,
The Tremeloes,
Sugar Minott,
The Vogues,
John Lydon,
Prince Buster,
Harpers Bizarre,
Dorothy Ashby,
Ornette Coleman,
Guru Guru,
David McCallum,
Scott Walker,
Supertramp,
Siouxsie and the Banshees,
The Divine Comedy,
The Gories,
Beasts of Bourbon,
Jerry Gold Smith,
Second Layer,
China Crisis,
Nas,
Faraquet,
Section 25,
Public Enemy,
The Fortunes,
Magazine,
The Pop Group,
The Happenings,
The Shadows of Knight,
Aaron Thompson,
Zapp,
Lalann,
June Days,
Quantec, Quantec, Quantec, Quantec.
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.