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 Gabon and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Bremen.
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 oboe 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 Easy Going to the grime kids.
I played it at the 40 Watt.
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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every T. Rex 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Gian Franco Pienzio,
Johnny Clarke,
Soulsonic Force,
Second Layer,
MC5,
Scan 7,
Grey Daturas,
Liaisons Dangereuses,
Los Fastidios,
Lyres,
Con Funk Shun,
The Fall,
The Grass Roots,
E-Dancer,
Althea and Donna,
Lou Reed & Metallica,
Oppenheimer Analysis,
Alice Coltrane,
Underground Resistance,
Siouxsie and the Banshees,
Beasts of Bourbon,
Television Personalities,
Louis and Bebe Barron,
CMW,
Eric B and Rakim,
Sound Behaviour,
Eden Ahbez,
Strawberry Alarm Clock,
Idris Muhammad,
Groovy Waters,
MDC,
the Fania All-Stars,
The Barracudas,
Pere Ubu,
Harpers Bizarre,
Motorama,
Rufus Thomas,
Pierre Henry,
Scott Walker,
Davy DMX,
Boogie Down Productions,
X-102,
Tim Buckley,
The Motions,
Funkadelic,
The Real Kids,
UT,
The Offenders,
The Moleskins,
Flamin' Groovies,
The Busters,
Scott Walker + Sunn O))),
Aswad,
Brass Construction,
Bauhaus,
Scion,
Soft Machine,
the Soft Cell,
Ken Boothe,
Aaron Thompson,
The Music Machine,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.