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 Rwanda and from Houston.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Spokane.
I'm losing my edge to the art-school Johannesburg 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 The Blues Magoos to the techno 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 Fat Boys. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Judy Mowatt,
Eve St. Jones,
Schoolly D,
Dennis Brown,
Public Image Ltd.,
Monolake,
Richard Hell and the Voidoids,
Bootsy Collins,
Rakim,
Henry Cow,
Wolf Eyes,
London Community Gospel Choir,
Röyhkä ja Rättö ja Lehtisalo,
Pantaleimon,
Ohio Players,
Teenage Jesus and the Jerks,
Radiohead,
Fifty Foot Hose,
Sight & Sound,
Ituana,
Lou Reed,
The Busters,
H. Thieme,
Rapeman,
Fela Kuti,
Make Up,
Glambeats Corp.,
Dead Boys,
Black Bananas,
Connie Case,
David Bowie,
Dorothy Ashby,
Scrapy,
Arthur Verocai,
Camberwell Now,
Mad Mike,
Idris Muhammad,
Royal Trux,
Visage,
Bobby Womack,
The Jesus and Mary Chain,
Supertramp,
Major Organ And The Adding Machine,
Moby Grape,
Morten Harket,
The Star Department,
The Grass Roots,
Drive Like Jehu,
The Durutti Column,
The Doors,
Chris Corsano,
Camouflage,
Roger Hodgson,
Banda Bassotti,
One Last Wish,
The Five Americans,
The Velvet Underground,
Tears for Fears,
Angels of Light & Akron/Family,
Rod Modell,
Livin' Joy,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.