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 Maldives and from Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
I'm losing my edge to the art-school Glasgow 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 Robert Palmer 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 Susan Cadogan to the electroclash kids.
I played it at the Spitz.
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 Juan Atkins. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Sun Ra,
The Velvet Underground,
Juan Atkins,
Oneida,
Kas Product,
Vaughan Mason & Crew,
John Holt,
Oppenheimer Analysis,
Tim Buckley,
Guru Guru,
Stetsasonic,
Patti Smith,
Absolute Body Control,
Ken Boothe,
Model 500,
The Detroit Cobras,
Glambeats Corp.,
Gary Puckett & The Union Gap,
Terry Callier,
Echo & the Bunnymen,
Cybotron,
Kool G Rap & DJ Polo,
Anthony Braxton,
48th St. Collective,
Johnny Clarke,
The Moleskins,
Gian Franco Pienzio,
Lungfish,
Popol Vuh,
Lebanon Hanover,
Qualms,
ABBA,
Mary Jane Girls,
The Gladiators,
The Victims,
Nas,
Jandek,
Anakelly,
Hasil Adkins,
Jimmy McGriff,
Joensuu 1685,
Andrew Hill,
Adolescents,
Fort Wilson Riot,
Crooked Eye,
Glenn Branca,
David Axelrod,
Lou Christie,
Deakin,
Grey Daturas,
Donny Hathaway,
Junior Murvin,
Bobby Sherman,
Desert Stars,
10cc,
Toni Rubio,
Strawberry Alarm Clock,
The Golliwogs,
Country Joe & The Fish,
Rites of Spring,
Hardrive, Hardrive, Hardrive, Hardrive.
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.