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 Fiji and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Cairo.
I'm losing my edge to the art-school Shanghai 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 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 Tim Buckley to the techno kids.
I played it at the Crocodile.
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 Hoover. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Yusef Lateef 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
K-Klass,
The Chocolate Watch Band,
Unrelated Segments,
Ultra Naté,
John Cale,
Harry Pussy,
Hoover,
Ten City,
Country Teasers,
Tears for Fears,
Eyeless In Gaza,
Alison Limerick,
Ituana,
The Monochrome Set,
Pharoah Sanders,
Crooked Eye,
Jacques Brel,
The Cramps,
DJ Sneak,
Pussy Galore,
Sex Pistols,
Masters at Work,
Spandau Ballet,
the Human League,
Thee Headcoats,
Intrusion,
D'Angelo,
Soul Sonic Force,
Don Cherry,
Deutsch Amerikanische Freundschaft,
Alphaville,
Maleditus Sound,
The Young Rascals,
Siouxsie and the Banshees,
Throbbing Gristle,
Television Personalities,
Lebanon Hanover,
MDC,
Wally Richardson,
Rhythm & Sound,
Unwound,
Thompson Twins,
Jerry Gold Smith,
FM Einheit,
DJ Style,
Tubeway Army,
Johnny Osbourne,
London Community Gospel Choir,
Jimmy McGriff,
Warsaw,
48th St. Collective,
The Kinks,
The Standells,
Eden Ahbez,
the Swans,
Vaughan Mason & Crew,
T.S.O.L.,
Fluxion,
Junior Murvin,
Motorama,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.