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 Costa Rica and from Paris.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Mumbai and Hong Kong.
I'm losing my edge to the art-school Beijing 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Pulsallama to the funk kids.
I played it at Cafe Wha.
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 Thompson Twins. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Black Moon 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pet Shop Boys,
Excepter,
Funky Four + One,
Gil Scott-Heron and Jamie xx,
Jacques Brel,
Johnny Clarke,
The Velvet Underground,
Marc Almond,
Ultravox,
Swans,
Quando Quango,
Cabaret Voltaire,
The Gun Club,
Kerri Chandler,
Masters at Work,
Janne Schatter,
Black Moon,
Jacob Miller,
Skriet,
Andrew Ashong & Theo Parrish,
Joey Negro,
Terrestrial Tones,
X-101,
Gil Scott-Heron & Brian Jackson,
E-Dancer,
Anthony Braxton,
T.S.O.L.,
Deepchord,
Soul II Soul,
Bobby Hutcherson,
Ossler,
Beasts of Bourbon,
Godley & Creme,
Mars,
New York Dolls,
Rakim,
Terry Callier,
Lizzy Mercier Descloux,
Eric Copeland,
Banda Bassotti,
the Slits,
Zero Boys,
The Grass Roots,
Bronski Beat,
Johnny Osbourne,
Adolescents,
Siouxsie and the Banshees,
Toni Rubio,
Tropical Tobacco,
The Litter,
Strawberry Alarm Clock,
Ash Ra Tempel,
Bluetip,
Don Cherry,
Audionom,
Agent Orange,
The Techniques,
Procol Harum,
Crispy Ambulance,
Be Bop Deluxe,
Mr. Review,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.