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 Luxembourg and from Tokyo.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Calgary and Beijing.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Royal Trux to the funk 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 Shoche. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Los Fastidios 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Siglo XX,
The Selecter,
The Blues Magoos,
Monolake,
T. Rex,
Wire,
The Zeros,
Pierre Henry,
Minutemen,
The Fortunes,
Country Teasers,
Louis and Bebe Barron,
Barry Ungar,
The Standells,
Moss Icon,
Anthony Braxton,
Matthew Halsall,
Bobby Hutcherson,
Scrapy,
Dark Day,
Ralphi Rosario,
Rhythim Is Rhythim,
Arab on Radar,
Bush Tetras,
Ossler,
Pharoah Sanders,
Ituana,
the Fania All-Stars,
The Durutti Column,
Tres Demented,
Suicide,
A Flock of Seagulls,
Public Image Ltd.,
Black Flag,
Silicon Teens,
Quadrant,
Robert Görl,
Liaisons Dangereuses,
Kenny Larkin,
Tim Buckley,
Johnny Osbourne,
Derrick May,
The Star Department,
a-ha,
Mark Hollis,
Technova,
Bang On A Can,
Simply Red,
Terror Squad Feat. Camron,
Prince Buster,
Amon Düül,
Scion,
Bizarre Inc.,
New Age Steppers,
Girls At Our Best!,
Basic Channel,
Graham Central Station,
The Fall,
Subhumans,
Ash Ra Tempel,
Barclay James Harvest,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.