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 Zambia and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Alphaville to the grime 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 John Coltrane. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every B.T. Express 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Severed Heads,
Public Enemy,
Siglo XX,
The Modern Lovers,
Jerry's Kids,
Robert Hood,
Q and Not U,
The Angels of Light,
Unrelated Segments,
Moby Grape,
Lou Reed & John Cale,
the Normal,
Sad Lovers and Giants,
Michelle Simonal,
Scan 7,
Kool G Rap & DJ Polo,
Neil Young & Crazy Horse,
Johnny Osbourne,
Bauhaus,
Godley & Creme,
Ronnie Foster,
Terry Callier,
Country Teasers,
Sound Behaviour,
The Fire Engines,
Masters at Work,
Grandmaster Flash,
Con Funk Shun,
Interpol,
Derrick Morgan,
The Men They Couldn't Hang,
John Coltrane,
The Residents,
Cameo,
Camberwell Now,
Josef K,
Bang on a Can All-Stars,
Moebius,
Black Moon,
LL Cool J,
Marmalade,
DeepChord presents Echospace,
Dr. Dre and Snoop Doggy Dog,
Arab on Radar,
Saccharine Trust,
Lightning Bolt,
Jesper Dahlback,
The Fall,
Beasts of Bourbon,
Bobby Sherman,
The Grass Roots,
Fear,
Icehouse,
Nation of Ulysses,
Lalo Schifrin,
Don Cherry,
The Electric Prunes,
Quantec,
Ajijia Myrayebe,
Graham Central Station,
Rowland S Howard / Lydia Lunch,
Lizzy Mercier Descloux,
Dead Boys, Dead Boys, Dead Boys, Dead 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.