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 Israel and from Philadelphia.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Delhi and London.
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 Feelies practice in a loft in Haledon.
I was working on the spring reverb 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 Peter and Kerry to the electroclash 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 Icehouse. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
The Black Dice,
Quantec,
Notorious BIG live in Amsterdam,
B.T. Express,
Toni Rubio,
Smog,
Slave,
Magma,
Scratch Acid,
Babytalk,
UT,
Jesper Dahlbäck,
Susan Cadogan,
Dark Day,
Excepter,
Country Teasers,
Aaron Thompson,
T. Rex,
Sparks,
Angels of Light & Akron/Family,
Jerry Gold Smith,
Kool G Rap & DJ Polo,
The Last Poets,
Joensuu 1685,
Pete Rock & C.L. Smooth,
Skriet,
The Barracudas,
Little Man,
Bootsy Collins,
Stiv Bators,
Rites of Spring,
The Seeds,
Spandau Ballet,
Crime,
Eric B and Rakim,
Drexciya,
Gastr Del Sol,
Reuben Wilson,
Bang On A Can,
Japan,
Delon & Dalcan,
Electric Prunes,
Nick Fraelich,
Harpers Bizarre,
Lakeside,
Sonny Sharrock,
Half Japanese,
Pierre Henry,
Be Bop Deluxe,
Matthew Bourne,
Marc Romboy vs. Booka Shade,
Echo & the Bunnymen,
Manfred Mann's Earth Band,
Mandrill,
Angry Samoans,
Cheater Slicks,
Ituana,
The Detroit Cobras,
Basic Channel,
Fluxion, Fluxion, Fluxion, Fluxion.
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.