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 Beijing.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Lille.
I'm losing my edge to the art-school Paris 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator 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 Judy Mowatt to the grime kids.
I played it at Trash.
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 The Residents. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every The Sonics record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Danielle Patucci,
June of 44,
The Skatalites,
Kool Moe Dee,
Depeche Mode,
Rufus Thomas,
Magazine,
The Fugs,
Blake Baxter,
Tears for Fears,
Stockholm Monsters,
New York Dolls,
The Fortunes,
Robert Wyatt,
The Divine Comedy,
Traffic Nightmare,
Lalo Schifrin,
The Chocolate Watch Band,
Half Japanese,
kango's stein massive,
Rhythm & Sound,
Toni Rubio,
X-Ray Spex,
Massinfluence,
The Wake,
June Days,
Sam Rivers,
The Men They Couldn't Hang,
Faust,
The West Coast Pop Art Experimental Band,
Aswad,
Nils Olav,
Symarip,
The Neon Judgement,
Joyce Sims,
B.T. Express,
Magma,
Suicide,
10cc,
Cabaret Voltaire,
Main Source,
Jacques Brel,
Q and Not U,
Hoover,
Barrington Levy,
Eve St. Jones,
The Gun Club,
Funkadelic,
Arab on Radar,
DJ Style,
Ornette Coleman,
Tim Buckley,
The Searchers,
PIL,
MDC,
Minor Threat,
Gabor Szabo,
Oppenheimer Analysis,
Interpol,
Amon Düül II,
The Tremeloes,
Swans,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.