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 Ecuador and from Manila.
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 1960 to 1970.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school New York 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Letta Mbulu to the rap kids.
I played it at the Hacienda.
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 Todd Rundgren. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Germs,
Con Funk Shun,
Ten City,
Rod Modell,
Alton Ellis,
Masters at Work,
A Flock of Seagulls,
Fela Kuti,
Sister Nancy,
Technova,
Inner City,
Ornette Coleman,
Eyeless In Gaza,
Zero Boys,
The Star Department,
Drive Like Jehu,
Jacques Brel,
Thompson Twins,
World's Most,
Carl Craig,
The Five Americans,
Crash Course in Science,
Lou Reed & Metallica,
Liliput,
Stockholm Monsters,
Kurtis Blow,
Louis and Bebe Barron,
The Raincoats,
Ossler,
The J.B.'s,
The Alarm Clocks,
Nils Olav,
Charles Mingus,
Bootsy's Rubber Band,
Amon Düül,
Johnny Clarke,
EPMD,
Gil Scott-Heron & Brian Jackson,
The Human League,
Avey Tare & Kría Brekkan,
Avey Tare's Slasher Flicks,
Aural Exciters,
Terrestrial Tones,
Visionaries,LMNO, T- Love & Iriscience,
Pagans,
Fad Gadget,
David McCallum,
Vaughan Mason & Crew,
Section 25,
The Fugs,
Supertramp,
The Dead C,
John Coltrane,
Sam Rivers,
The Dirtbombs,
The Fall,
Wasted Youth,
MDC,
Blake Baxter,
Sparks,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.