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 Kazakhstan and from Portland.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Houston and Woodstock.
I'm losing my edge to the art-school Mexico City 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Todd Terry to the rap kids.
I played it at the Troubador.
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 Lee Hazlewood. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Mad Mike,
Morten Harket,
LL Cool J,
The Techniques,
Joe Smooth,
Deepchord,
The Alarm Clocks,
Fifty Foot Hose,
The Human League,
Minor Threat,
London Community Gospel Choir,
Magazine,
Oneida,
Cluster,
Grandmaster Flash and the Furious Five,
Deutsch Amerikanische Freundschaft,
Bob Dylan,
Ludus,
Donald Byrd,
Dark Day,
Richard Hell and the Voidoids,
The Smiths,
Juan Atkins,
Neil Young & Crazy Horse,
Letta Mbulu,
Ronnie Foster,
Sugar Minott,
The Smoke,
It's A Beautiful Day,
Big Daddy Kane,
Sunsets and Hearts,
Boredoms,
Deadbeat,
The Five Americans,
Tomorrow,
Traffic Nightmare,
Scan 7,
The Sisters of Mercy,
Roger Hodgson,
Stetsasonic,
Matthew Halsall,
Roy Ayers,
Dave Gahan,
Flash Fearless,
Procol Harum,
Skaos,
Rahsaan Roland Kirk,
Audionom,
Au Pairs,
OOIOO,
Quando Quango,
Ultravox,
Magma,
Anthony Braxton,
Tom Boy,
Jerry's Kids,
Kings Of Tomorrow,
The Electric Prunes,
Gil Scott Heron,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.