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 Malaysia and from Edmonton.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Paris 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 Chic practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Alison Limerick to the punk 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 Gian Franco Pienzio. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Wolf Eyes 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Althea and Donna,
Fort Wilson Riot,
Agent Orange,
Country Joe & The Fish,
U.S. Maple,
Lou Reed & John Cale,
Tres Demented,
The Trojans,
Pete Rock & C.L. Smooth,
Nick Cave & The Bad Seeds,
Magma,
Dark Day,
Smog,
Qualms,
Hardrive,
Bobbi Humphrey,
Lou Christie,
Sarah Menescal,
Art Ensemble Of Chicago,
Kurtis Blow,
Skaos,
Pantaleimon,
Matthew Bourne,
Second Layer,
Nils Olav,
Bobby Hutcherson,
Teenage Jesus and the Jerks,
Average White Band,
Angels of Light & Akron/Family,
The Skatalites,
It's A Beautiful Day,
Sly & The Family Stone,
Camron Feat. Memphis Bleek And Beenie Seigel,
Marshall Jefferson,
Interpol,
The Buckinghams,
The Royal Family And The Poor,
Grandmaster Flash and the Furious Five,
Orchestral Manoeuvres in the Dark,
Ornette Coleman,
Justin Hinds & The Dominoes,
The Cramps,
Avey Tare's Slasher Flicks,
Subhumans,
Aural Exciters,
The Golliwogs,
Wire,
K-Klass,
Röyhkä ja Rättö ja Lehtisalo,
Bill Near,
Drexciya,
Louis and Bebe Barron,
Scott Walker,
Procol Harum,
One Last Wish,
The Busters,
The Neon Judgement,
The Dave Clark Five,
The Pop Group,
Howard Jones,
Barry Ungar,
The Monks, The Monks, The Monks, The Monks.
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.