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 Cambodia and from Lyon.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Milan and Edmonton.
I'm losing my edge to the art-school Portland 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 mellotron sounds with much patience.
I was there when David Bowie 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 Goldenarms to the rap kids.
I played it at the Crocodile.
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 Johnny Osbourne. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Niagra record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Bizarre Inc.,
Lonnie Liston Smith,
Brick,
Country Teasers,
a-ha,
Nick Cave & The Bad Seeds,
the Swans,
Lindisfarne,
Skarface,
Sun Ra,
Unrelated Segments,
Bobbi Humphrey,
Beasts of Bourbon,
Crash Course in Science,
Black Bananas,
It's A Beautiful Day,
Television,
Red Lorry Yellow Lorry,
Rites of Spring,
Deutsch Amerikanische Freundschaft,
Das Ding,
The Misunderstood,
Davy DMX,
James Chance & The Contortions,
Susan Cadogan,
Ponytail,
Dead Boys,
Anakelly,
Intrusion,
Letta Mbulu,
Aloha Tigers,
Rhythim Is Rhythim,
The Blackbyrds,
The Selecter,
Johnny Clarke,
Eli Mardock,
The Slackers,
Blake Baxter,
Pantaleimon,
The Cramps,
Technova,
Q and Not U,
cv313,
Organ,
R.M.O.,
The Blues Magoos,
Röyhkä ja Rättö ja Lehtisalo,
MDC,
Ultramagnetic MC's,
Nico,
Soul Sonic Force,
Porter Ricks,
Grandmaster Flash,
Main Source,
The Move,
Roxy Music,
Art Ensemble Of Chicago,
Au Pairs,
The Count Five,
Ludus,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.