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 Croatia and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Spokane 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the oboe 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 Bootsy Collins to the punk 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 Dorothy Ashby. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every The Velvet Underground 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain 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?
The Alarm Clocks,
The Zeros,
Moebius,
Ohio Players,
Man Parrish,
Arthur Verocai,
Smog,
The Fortunes,
The Chocolate Watch Band,
Neu!,
48th St. Collective,
Pete Rock & C.L. Smooth,
Popol Vuh,
Deakin,
Lou Reed & John Cale,
Kings Of Tomorrow,
Gary Puckett & The Union Gap,
Au Pairs,
Lucky Dragons,
Mr. Review,
Von Mondo,
Tommy Roe,
Cecil Taylor,
John Foxx,
Zapp,
Cluster,
OOIOO,
Graham Central Station,
ABC,
F. McDonald,
Erykah Badu,
Janne Schatter,
The Raincoats,
Los Fastidios,
Grandmaster Flash,
Joyce Sims,
Crispian St. Peters,
Peter & Gordon,
Outsiders,
La Düsseldorf,
Avey Tare & Kría Brekkan,
Orchestral Manoeuvres in the Dark,
Cymande,
Inner City,
Gang Gang Dance,
A Flock of Seagulls,
Model 500,
Gang Starr,
Blancmange,
The Wake,
Rites of Spring,
The Trojans,
Con Funk Shun,
Das Ding,
Althea and Donna,
Lou Christie,
Kool Moe Dee,
Magma,
Byron Stingily,
The Dave Clark Five,
Gabor Szabo,
Country Joe & The Fish,
MDC,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.