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 Kazakhstan and from Sao Paulo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Tokyo and Paris.
I'm losing my edge to the art-school London 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 at the first Suicide practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 rap kids.
I played it at Trash.
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 Lyres. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
the Sonics,
The Index,
the Normal,
Altered Images,
Nation of Ulysses,
The Mighty Diamonds,
The Chocolate Watch Band,
Fugazi,
Sparks,
Man Parrish,
Slave,
The Cosmic Jokers,
Albert Ayler,
Warsaw,
World's Most,
Dawn Penn,
Bobby Byrd,
the Fania All-Stars,
Todd Rundgren,
Flipper,
Guru Guru,
Arthur Verocai,
Jerry's Kids,
Brothers Johnson,
Aural Exciters,
Lou Reed & John Cale,
JFA,
Con Funk Shun,
Richard Hell and the Voidoids,
The West Coast Pop Art Experimental Band,
The Victims,
Kerri Chandler,
Can,
Sun Ra Arkestra,
Jimmy McGriff,
Zero Boys,
David McCallum,
The Modern Lovers,
Alison Limerick,
Sound Behaviour,
Pere Ubu,
Hasil Adkins,
Pharaoh Sanders and the Fire Engines,
Roxette,
Ohio Players,
Bang on a Can All-Stars,
Charles Mingus,
Das Ding,
Ornette Coleman,
Japan,
Interpol,
Rhythm & Sound,
Minutemen,
Black Bananas,
Joe Smooth,
Subhumans,
Harpers Bizarre,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.