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 Czech Republic and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Delhi 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Bill Wells to the electroclash kids.
I played it at the 40 Watt.
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 John Cale. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Danielle Patucci record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Sam Rivers,
The Fall,
Ornette Coleman,
Index,
David Axelrod,
Mo-Dettes,
Ultra Naté,
Amon Düül II,
Niagra,
Kool G Rap & DJ Polo,
the Germs,
The Associates,
Pantaleimon,
Con Funk Shun,
Pylon,
Von Mondo,
Lizzy Mercier Descloux,
Sixth Finger,
the Normal,
Franke,
Country Teasers,
Graham Central Station,
Prince Buster,
Shoche,
Alice Coltrane,
Donald Byrd,
Lindisfarne,
The Gap Band,
Sarah Menescal,
Bauhaus,
OOIOO,
Spandau Ballet,
Dual Sessions,
Steve Hackett,
the Soft Cell,
The Victims,
Kaleidoscope,
Lebanon Hanover,
Art Ensemble Of Chicago,
Barrington Levy,
Throbbing Gristle,
Nirvana,
Hashim,
Aswad,
Wally Richardson,
Judy Mowatt,
Smog,
Crispian St. Peters,
R.M.O.,
Sexual Harrassment,
The J.B.'s,
Banda Bassotti,
Wire,
Soft Cell,
Animal Collective,
Heaven 17,
Maleditus Sound,
The Move,
Make Up,
The Searchers,
The Slackers, The Slackers, The Slackers, The Slackers.
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.