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 Djibouti and from Toronto.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Tehran.
I'm losing my edge to the art-school Philadelphia 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Con Funk Shun to the disco kids.
I played it at the Spitz.
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 New York Dolls. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Ultravox,
Avey Tare,
Idris Muhammad,
Black Pus,
Franke,
Richard Hell and the Voidoids,
Lou Reed & John Cale,
Symarip,
Lightning Bolt,
Kaleidoscope,
the Swans,
Throbbing Gristle,
Bluetip,
ABBA,
Joensuu 1685,
Interpol,
John Foxx,
Lou Christie,
Matthew Halsall,
Harry Pussy,
Graham Central Station,
Avey Tare & Kría Brekkan,
The Cosmic Jokers,
Oneida,
Bill Wells,
D'Angelo,
Kerri Chandler,
Eric B and Rakim,
Archie Shepp,
the Slits,
Sunsets and Hearts,
Kevin Saunderson,
Excepter,
Nirvana,
Soft Machine,
Anthony Braxton,
The Divine Comedy,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Notorious Big And Bone Thugs,
Josef K,
Skriet,
Deadbeat,
Jacob Miller,
Sexual Harrassment,
Pulsallama,
Masters at Work,
Clear Light,
Alton Ellis,
Lucky Dragons,
Mr. Review,
The Cowsills,
Nas,
The Monochrome Set,
Wings,
Erykah Badu,
Metal Thangz,
Bizarre Inc.,
F. McDonald,
James Chance & The Contortions,
Aswad,
MC5,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.