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 Liechtenstein and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Halifax.
I'm losing my edge to the art-school Portland 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 snare sounds with much patience.
I was there when Holger Czukay 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 Mighty Diamonds to the grime kids.
I played it at Cafe Wha.
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 Sam Rivers. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal disco 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 a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Josef K,
Hoover,
Nation of Ulysses,
Lucky Dragons,
Massinfluence,
Jacques Brel,
The Dave Clark Five,
Arcadia,
A Flock of Seagulls,
The Cosmic Jokers,
Tomorrow,
Warsaw,
John Holt,
Lakeside,
Prince Buster,
Junior Murvin,
Richard Hell and the Voidoids,
Fifty Foot Hose,
Whodini,
Joe Finger,
Nico,
Rhythm & Sound,
Strawberry Alarm Clock,
Lonnie Liston Smith,
Fluxion,
Surgeon,
The Shadows of Knight,
Chris & Cosey,
Black Sheep,
Dorothy Ashby,
The Fall,
Boogie Down Productions,
The J.B.'s,
Pulsallama,
Bobby Hutcherson,
The Detroit Cobras,
Colin Newman,
the Association,
Supertramp,
Khruangbin,
Connie Case,
Amon Düül II,
Gil Scott Heron,
Man Parrish,
Idris Muhammad,
Marvin Gaye,
Banda Bassotti,
Funkadelic,
Byron Stingily,
Rosa Yemen,
Pantytec,
Young Marble Giants,
Dark Day,
Neu!,
Suburban Knight,
Sonny Sharrock,
The Toasters,
Excepter,
Kerrie Biddell,
Urselle,
Gary Puckett & The Union Gap,
The Velvet Underground,
Stereo Dub,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.