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 Georgia and from Johannesburg.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Seoul and Johannesburg.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the synthesizer 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 Spandau Ballet to the grunge kids.
I played it at the Astoria.
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 Brick. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal funk 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 marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Yaz,
Avey Tare's Slasher Flicks,
The Misunderstood,
Ralphi Rosario,
Black Flag,
Lee Hazlewood,
Qualms,
Connie Case,
Mad Mike,
Magazine,
New York Dolls,
The Standells,
Nils Olav,
Barrington Levy,
Ultramagnetic MC's,
UT,
The Fugs,
Eve St. Jones,
One Last Wish,
The J.B.'s,
Kenny Larkin,
The Flesh Eaters,
Skaos,
Lower 48,
Harmonia,
the Human League,
Half Japanese,
The Barracudas,
Blake Baxter,
The Selecter,
The West Coast Pop Art Experimental Band,
Procol Harum,
Dark Day,
Bad Manners,
Faust,
Man Eating Sloth,
Sun Ra Arkestra,
Trumans Water,
Intrusion,
Hoover,
Joensuu 1685,
Crooked Eye,
Liaisons Dangereuses,
DeepChord presents Echospace,
Gong,
Pere Ubu,
Al Stewart,
Throbbing Gristle,
Ronnie Foster,
The Happenings,
The Doors,
Fifty Foot Hose,
Scrapy,
Panda Bear,
Erykah Badu,
Roger Hodgson,
Rufus Thomas,
Flipper,
Pantytec,
Pharaoh Sanders and the Fire Engines,
Big Daddy Kane,
Cameo, Cameo, Cameo, Cameo.
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.