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 Grenada and from Tehran.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Seoul 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Bootsy's Rubber Band to the punk 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 The American Breed. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Pulsallama 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Don Cherry record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Avey Tare's Slasher Flicks,
Andrew Hill,
Lalann,
The Litter,
Livin' Joy,
Warren Ellis,
Oppenheimer Analysis,
Throbbing Gristle,
Bauhaus,
Kurtis Blow,
June Days,
L. Decosne,
Girls At Our Best!,
Scion,
Avey Tare & Kría Brekkan,
Brass Construction,
David Axelrod,
The Stooges,
Kings Of Tomorrow,
Major Organ And The Adding Machine,
Davy DMX,
The Golliwogs,
Johnny Clarke,
Jerry Gold Smith,
The Cowsills,
Hardrive,
X-102,
Traffic Nightmare,
Black Flag,
Ice-T,
Moss Icon,
The Techniques,
Liaisons Dangereuses,
Tim Buckley,
The Victims,
Jerry's Kids,
It's A Beautiful Day,
Agent Orange,
Mo-Dettes,
The Mighty Diamonds,
Jacob Miller,
Blancmange,
Cheater Slicks,
Richard Hell and the Voidoids,
Zero Boys,
Faraquet,
Minor Threat,
Darondo,
Electric Light Orchestra,
Aaron Thompson,
KRS-One,
Big Daddy Kane,
Eric Dolphy,
Blake Baxter,
Lou Reed,
The Mojo Men,
EPMD,
Eddi Front,
Underground Resistance,
Althea and Donna,
Yazoo,
The Remains,
Vladislav Delay,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.