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 Guatemala and from Shanghai.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Manila 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron 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 K-Klass to the crunk kids.
I played it at Trash.
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 Don Cherry. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Model 500 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Mandrill,
Lafayette Afro Rock Band,
Harpers Bizarre,
Max Romeo,
The Names,
Eve St. Jones,
Alison Limerick,
Mission of Burma,
Avey Tare's Slasher Flicks,
Supertramp,
Q65,
Ornette Coleman,
Chrome,
Red Lorry Yellow Lorry,
The Doors,
Gerry Rafferty,
Deepchord,
Fort Wilson Riot,
Lalo Schifrin,
a-ha,
Adolescents,
Crooked Eye,
The Neon Judgement,
Dark Day,
the Association,
Throbbing Gristle,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kevin Saunderson,
Liliput,
Average White Band,
Talk Talk,
Anakelly,
Sun City Girls,
John Holt,
Bill Wells,
Animal Collective,
Banda Bassotti,
Gil Scott-Heron and Jamie xx,
Pharaoh Sanders and the Fire Engines,
Echospace,
The Slackers,
Kool G Rap & DJ Polo,
8 Eyed Spy,
Josef K,
Trumans Water,
Cheater Slicks,
Skaos,
Bauhaus,
Saccharine Trust,
Youth Brigade,
Pantaleimon,
Blossom Toes,
Interpol,
Kayak,
Subhumans,
The Index,
Hardrive,
Moby Grape,
Yellowson,
It's A Beautiful Day,
Barclay James Harvest,
Rekid,
Model 500,
Unwound, Unwound, Unwound, Unwound.
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.