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 Congo and from Portland.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
I'm losing my edge to the art-school Madrid 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 Unwound to the punk 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 Lindisfarne. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Barrington Levy 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Gabor Szabo,
Byron Stingily,
The Monochrome Set,
Monolake,
a-ha,
Japan,
Kayak,
New Age Steppers,
The Dead C,
Boz Scaggs,
Alice Coltrane,
Crispy Ambulance,
Lyres,
The Grass Roots,
London Community Gospel Choir,
ABBA,
Nick Cave & The Bad Seeds,
Fear,
The Last Poets,
The Move,
Blancmange,
Jeff Lynne,
Liliput,
Bobby Womack,
10cc,
Soulsonic Force,
Oppenheimer Analysis,
The Mummies,
Public Image Ltd.,
Art Ensemble Of Chicago,
Godley & Creme,
Anthony Braxton,
The Offenders,
Heaven 17,
Ornette Coleman,
Grandmaster Flash and the Furious Five,
Ice-T,
Warren Ellis,
Excepter,
The West Coast Pop Art Experimental Band,
Q65,
Ken Boothe,
Little Man,
The Evens,
Lindisfarne,
Mo-Dettes,
Barbara Tucker,
The Barracudas,
The Fugs,
Ultimate Spinach,
Sugar Minott,
David McCallum,
Alphaville,
The Techniques,
Ossler,
Thompson Twins,
Drive Like Jehu,
Janne Schatter,
Albert Ayler,
Nation of Ulysses,
Lungfish, Lungfish, Lungfish, Lungfish.
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.