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 Lebanon and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school Halifax 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 organ 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 Spoonie Gee to the rap kids.
I played it at Trash.
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 Electric Prunes. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Supertramp,
Harmonia,
The Gap Band,
Second Layer,
Negative Approach,
Connie Case,
Brand Nubian,
Dark Day,
Charles Mingus,
Tears for Fears,
Bang on a Can All-Stars,
Bootsy Collins,
Boredoms,
Zero Boys,
Archie Shepp,
Sun Ra Arkestra,
Dawn Penn,
Jacob Miller,
Hot Snakes,
The Fortunes,
Pantytec,
Juan Atkins,
The Royal Family And The Poor,
The Knickerbockers,
Angels of Light & Akron/Family,
Nirvana,
Kings Of Tomorrow,
Bang On A Can,
Nico,
Ultra Naté,
Guru Guru,
Laurel Aitken,
8 Eyed Spy,
Gil Scott Heron,
Leonard Cohen,
Liaisons Dangereuses,
The Slits,
Minnie Riperton,
Monolake,
Con Funk Shun,
Kauko Röyhkä ja Narttu,
the Association,
Lalo Schifrin,
Lucky Dragons,
Bobby Byrd,
Peter & Gordon,
Von Mondo,
Chris & Cosey,
Godley & Creme,
Richard Hell and the Voidoids,
Chrome,
Animal Collective,
Cluster,
Gregory Isaacs,
The Dirtbombs,
Stereo Dub,
The Zeros,
Art Ensemble Of Chicago,
The Saints,
Skaos,
The Human League, The Human League, The Human League, The Human League.
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.