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 Romania and from Taipei.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school London 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 at the first Suicide practice in a loft in New York.
I was working on the clarinet 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 the Soft Cell 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 The Sisters of Mercy. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The New Christs,
Funkadelic,
Deakin,
Bang On A Can,
Selector Dub Narcotic,
E-Dancer,
Peter and Kerry,
Jawbox,
Lou Reed,
Bobby Womack,
Amon Düül II,
Leonard Cohen,
Lou Reed & John Cale,
The Jesus and Mary Chain,
Ituana,
Flipper,
Nils Olav,
Erasure,
T.S.O.L.,
Nas,
Fat Boys,
Average White Band,
The Invisible,
Glenn Branca,
Depeche Mode,
Mandrill,
Wire,
Blake Baxter,
Chris Corsano,
Ash Ra Tempel,
Freddie Wadling,
The Index,
X-Ray Spex,
The Techniques,
The Cosmic Jokers,
The Cramps,
Brand Nubian,
Johnny Clarke,
Neil Young,
Bronski Beat,
Blossom Toes,
Sex Pistols,
Ohio Players,
Howard Jones,
Strawberry Alarm Clock,
The Smoke,
Barry Ungar,
Clear Light,
Ponytail,
The Velvet Underground,
Boogie Down Productions,
Bauhaus,
Camberwell Now,
Pantytec,
Hoover,
T. Rex,
London Community Gospel Choir,
The Happenings,
UT,
Ice-T,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.