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 Thailand and from Bologna.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Edmonton.
I'm losing my edge to the art-school Milan 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 Cecil Taylor to the jazz kids.
I played it at the Troubador.
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 Association. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Electric Prunes record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Maleditus Sound,
Ralphi Rosario,
Ultravox,
Ash Ra Tempel,
Don Cherry,
Kayak,
Oppenheimer Analysis,
Pantaleimon,
Scion,
Judy Mowatt,
U.S. Maple,
Jacob Miller,
Tropical Tobacco,
Skriet,
Skarface,
Drive Like Jehu,
Q and Not U,
DJ Sneak,
Symarip,
Oneida,
Ultra Naté,
Tres Demented,
Flipper,
The Neon Judgement,
Iggy Pop,
Joensuu 1685,
Minny Pops,
Ronnie Foster,
Heaven 17,
Radio Birdman,
The Moleskins,
The Barracudas,
Nik Kershaw,
Stiv Bators,
Sarah Menescal,
Vladislav Delay,
The Fortunes,
Sun Ra Arkestra,
Country Teasers,
Dennis Brown,
Desert Stars,
Scan 7,
Ajijia Myrayebe,
Juan Atkins,
The West Coast Pop Art Experimental Band,
Con Funk Shun,
Easy Going,
Can,
Faraquet,
Porter Ricks,
Captain Beefheart & His Magic Band,
The Leaves,
Pharaoh Sanders and the Fire Engines,
Icehouse,
The Peanut Butter Conspiracy,
Throbbing Gristle,
The Angels of Light,
Avey Tare's Slasher Flicks,
Pet Shop Boys,
the Normal,
Marshall Jefferson,
The Gun Club,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.