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 Marshall Islands and from London.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Winnipeg 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Radiopuhelimet to the electroclash kids.
I played it at the Crocodile.
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 Minutemen. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Matthew Halsall,
Manfred Mann's Earth Band,
Blake Baxter,
Radiopuhelimet,
Rekid,
Gang Gang Dance,
JFA,
The Fire Engines,
Section 25,
Bob Dylan,
The Peanut Butter Conspiracy,
Royal Trux,
Niagra,
Icehouse,
Crispy Ambulance,
Unwound,
Bobby Byrd,
The Dead C,
Crash Course in Science,
John Foxx,
Kaleidoscope,
The Young Rascals,
The Knickerbockers,
Cecil Taylor,
Fifty Foot Hose,
Kurtis Blow,
Popol Vuh,
Lebanon Hanover,
Magazine,
Thee Headcoats,
The Moleskins,
Faraquet,
Mantronix,
Orchestral Manoeuvres in the Dark,
The Kinks,
Matthew Bourne,
Warren Ellis,
Black Flag,
Bluetip,
the Germs,
Derrick May,
Oppenheimer Analysis,
Eric Copeland,
The New Christs,
Archie Shepp,
Qualms,
The Misunderstood,
Sixth Finger,
The Litter,
Throbbing Gristle,
Inner City,
Agitation Free,
Bang On A Can,
Danielle Patucci,
Richard Hell and the Voidoids,
Mandrill,
T. Rex,
Grandmaster Flash,
Pantaleimon,
Brand Nubian,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.