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 Namibia and from Delhi.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Soulsonic Force to the jazz kids.
I played it at CBGB's.
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 Parry Music. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Cabaret Voltaire 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 '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Malaria!,
Minnie Riperton,
Ken Boothe,
The Toasters,
Jandek,
The Divine Comedy,
Dawn Penn,
Drive Like Jehu,
Sam Rivers,
The Shadows of Knight,
Pussy Galore,
Half Japanese,
Grandmaster Flash and the Furious Five,
Wire,
The Doors,
Tres Demented,
Magma,
48th St. Collective,
The Evens,
Gang Starr,
Jacques Brel,
Jeru the Damaja,
Kenny Larkin,
D'Angelo,
Cybotron,
the Sonics,
Ohio Players,
Bill Near,
Oneida,
Sound Behaviour,
Letta Mbulu,
Groovy Waters,
Parry Music,
Teenage Jesus and the Jerks,
Sonny Sharrock,
Aswad,
MC5,
Monolake,
Albert Ayler,
Henry Cow,
Rowland S Howard / Lydia Lunch,
Soul II Soul,
The Beau Brummels,
Bluetip,
Dead Boys,
Tears for Fears,
the Association,
Amon Düül,
The Mummies,
Connie Case,
Leonard Cohen,
It's A Beautiful Day,
Bizarre Inc.,
The Count Five,
The Slits,
Thompson Twins,
Soul Sonic Force,
Tropical Tobacco,
The Busters,
The American Breed,
Y Pants,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.