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 Ivory Coast and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Lille and Accra.
I'm losing my edge to the art-school Stockholm 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 snare 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 The Doors to the grunge kids.
I played it at Cafe Wha.
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 48th St. Collective. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Q and Not U record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
Robert Hood,
Model 500,
Nick Cave & The Bad Seeds,
Toni Rubio,
Ohio Players,
The Doobie Brothers,
The Slackers,
Moebius,
Dark Day,
Warren Ellis,
These Immortal Souls,
Eric Dolphy,
Ultra Naté,
Gil Scott-Heron & Brian Jackson,
Henry Cow,
Roy Ayers,
Talk Talk,
Yusef Lateef,
KRS-One,
cv313,
Oppenheimer Analysis,
Rhythm & Sound,
Drexciya,
The Index,
Avey Tare,
Scott Walker,
Jacob Miller,
Radiopuhelimet,
Jesper Dahlbäck,
Yaz,
The Monochrome Set,
Lyres,
Desert Stars,
Fatback Band,
Peter & Gordon,
Massinfluence,
Underground Resistance,
Maleditus Sound,
Faraquet,
Bootsy Collins,
Deadbeat,
The Neon Judgement,
Mandrill,
Main Source,
Kerrie Biddell,
Quando Quango,
Schoolly D,
Thinking Fellers Union Local 282,
Godley & Creme,
Ralphi Rosario,
Joensuu 1685,
Louis and Bebe Barron,
June of 44,
Gang Green,
Nick Fraelich,
Amon Düül,
Bootsy's Rubber Band,
The Moody Blues,
the Human League,
Joe Finger,
The Fugs,
Manfred Mann's Earth Band,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.