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 Norway and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Houston and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 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 Gang Gang Dance to the disco 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 Moby Grape. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Rekid,
The Cure,
The Names,
Steve Hackett,
Liaisons Dangereuses,
Tubeway Army,
Suburban Knight,
Loose Ends,
Dual Sessions,
Mantronix,
Tommy Roe,
Zapp,
Blancmange,
Jeff Mills,
The Detroit Cobras,
Sugar Minott,
the Normal,
Lou Reed,
Moby Grape,
Pharaoh Sanders and the Fire Engines,
Donny Hathaway,
Inner City,
The Mummies,
Rotary Connection,
Pole,
Negative Approach,
Faraquet,
Bootsy's Rubber Band,
Alton Ellis,
Kerrie Biddell,
Prince Buster,
Rhythm & Sound,
Lalo Schifrin,
Gregory Isaacs,
Kurtis Blow,
Rufus Thomas,
Royal Trux,
The Music Machine,
Blake Baxter,
Little Man,
Drive Like Jehu,
Bauhaus,
Jacques Brel,
Strawberry Alarm Clock,
Max Romeo,
Sam Rivers,
Michelle Simonal,
The Standells,
OOIOO,
The Sound,
DeepChord presents Echospace,
Accadde A,
LL Cool J,
Boogie Down Productions,
Scan 7,
Andrew Ashong & Theo Parrish,
James White and The Blacks,
Jeff Lynne,
The Wake,
Barrington Levy,
Leonard Cohen,
Infiniti, Infiniti, Infiniti, Infiniti.
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.