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 Maldives and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Johannesburg 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 sitar 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 Derrick May to the dance 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 Kurtis Blow. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Organ record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
The Cosmic Jokers,
the Normal,
Easy Going,
Whodini,
Little Man,
David Axelrod,
Magazine,
Jeff Lynne,
CMW,
Alton Ellis,
Kaleidoscope,
Crispian St. Peters,
Excepter,
Scan 7,
Lyres,
Siouxsie and the Banshees,
New Order,
Maleditus Sound,
The Index,
Fad Gadget,
The Music Machine,
Symarip,
Royal Trux,
Public Image Ltd.,
Funkadelic,
U.S. Maple,
Stetsasonic,
Scientists,
The Five Americans,
De La Soul & Jungle Brothers,
Pere Ubu,
Negative Approach,
Neu!,
Gong,
Archie Shepp,
Cal Tjader,
Pantytec,
Sam Rivers,
Siglo XX,
Kango’s Stein Massive,
Tom Boy,
Harpers Bizarre,
Maurizio,
Nico,
Byron Stingily,
Gary Puckett & The Union Gap,
Arcadia,
John Cale,
The Mighty Diamonds,
Ponytail,
The Pop Group,
The Offenders,
a-ha,
Blake Baxter,
Dave Gahan,
Agitation Free,
The Tremeloes,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.