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 Panama and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 Donald Fagen 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 Oblivians 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 The Black Dice. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Warren Ellis,
London Community Gospel Choir,
Nas,
Letta Mbulu,
Amazonics,
Echospace,
Funkadelic,
Todd Terry,
Eddi Front,
Teenage Jesus and the Jerks,
Nirvana,
Underground Resistance,
Subhumans,
MDC,
Deakin,
Juan Atkins,
Minutemen,
The Saints,
Porter Ricks,
Fela Kuti,
The Star Department,
Talk Talk,
Beasts of Bourbon,
Nick Cave & The Bad Seeds,
The Standells,
The Cowsills,
Theoretical Girls,
Sad Lovers and Giants,
Skaos,
Eli Mardock,
The Monks,
Sun Ra,
Gary Puckett & The Union Gap,
Skriet,
Tommy Roe,
The Move,
Kas Product,
Marc Almond,
Man Eating Sloth,
Schoolly D,
Howard Jones,
Rowland S Howard / Lydia Lunch,
The Beau Brummels,
Barry Ungar,
Symarip,
John Holt,
Essential Logic,
Charles Mingus,
Dennis Brown,
Ludus,
F. McDonald,
Toni Rubio,
Niagra,
Maleditus Sound,
Soft Cell,
The Cure,
Lightning Bolt,
Ultravox,
Yellowson,
Sister Nancy,
H. Thieme,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.