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 Trinidad & Tobago and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Cairo and Glasgow.
I'm losing my edge to the art-school Bologna 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 spring reverb 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 Marcia Griffiths to the techno 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 Young Marble Giants. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Leonard Cohen 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Bang on a Can All-Stars,
Soft Machine,
Oppenheimer Analysis,
Stiv Bators,
Fat Boys,
June of 44,
The Star Department,
Chrome,
The Monks,
Lyres,
Reuben Wilson,
One Last Wish,
Curtis Mayfield,
John Cale,
Von Mondo,
Larry & the Blue Notes,
Lindisfarne,
Sugar Minott,
The Remains,
the Swans,
Maleditus Sound,
Angels of Light & Akron/Family,
Sandy B,
Tim Buckley,
Bauhaus,
This Heat,
The Moleskins,
Rekid,
Shoche,
The Stooges,
Fifty Foot Hose,
T.S.O.L.,
Aswad,
Public Enemy,
Rufus Thomas,
Lee Hazlewood,
Terry Callier,
Robert Görl,
The Dirtbombs,
Yusef Lateef,
Lonnie Liston Smith,
The Gap Band,
The Modern Lovers,
Blake Baxter,
Pylon,
Eric Copeland,
Marvin Gaye,
Susan Cadogan,
Prince Buster,
Pharaoh Sanders and the Fire Engines,
Thee Headcoats,
Talk Talk,
Pierre Henry,
Judy Mowatt,
The Pop Group,
Accadde A,
The Tremeloes,
Tears for Fears,
Kango’s Stein Massive,
Faust, Faust, Faust, Faust.
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.