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 Uganda and from Lagos.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Tehran.
I'm losing my edge to the art-school Manila 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 1968 at the first Can practice in a loft in Cologne.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Don Cherry to the disco kids.
I played it at CBGB's.
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 One Last Wish. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Eric B and Rakim 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 güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
X-Ray Spex,
Colin Newman,
John Lydon,
The New Christs,
Henry Cow,
The Music Machine,
Second Layer,
Barclay James Harvest,
Gary Puckett & The Union Gap,
Crime,
The Vogues,
Brick,
The Count Five,
Laurel Aitken,
Chris & Cosey,
Glambeats Corp.,
Danielle Patucci,
Alton Ellis,
Black Bananas,
The Gladiators,
Eddi Front,
Lebanon Hanover,
Alison Limerick,
Brass Construction,
Blancmange,
Ralphi Rosario,
PIL,
Sun Ra,
The Cramps,
Saccharine Trust,
Barry Ungar,
David McCallum,
The Durutti Column,
Sam Rivers,
Boredoms,
Ten City,
Manfred Mann's Earth Band,
Moebius,
Carl Craig,
Groovy Waters,
The United States of America,
Ossler,
Spandau Ballet,
Jerry's Kids,
48th St. Collective,
Young Marble Giants,
Tubeway Army,
Isaac Hayes,
Roxette,
The Beau Brummels,
Anakelly,
The Sisters of Mercy,
The Sonics,
Liaisons Dangereuses,
Oblivians,
Ultramagnetic MC's,
Television Personalities,
Roy Ayers Ubiquity,
Technova, Technova, Technova, Technova.
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.