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 Switzerland and from Toronto.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Accra and Cairo.
I'm losing my edge to the art-school Woodstock 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Graham Central Station to the disco kids.
I played it at the Roxy.
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 Skatalites. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Jerry Gold Smith 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
The Smiths,
June Days,
Gregory Isaacs,
Supertramp,
Fugazi,
Matthew Halsall,
MC5,
Niagra,
Visionaries,LMNO, T- Love & Iriscience,
The Slackers,
Yaz,
Das Ding,
La Düsseldorf,
Suburban Knight,
Bluetip,
Brick,
Bootsy Collins,
Panda Bear,
John Lydon,
Bush Tetras,
Art Ensemble Of Chicago,
Alton Ellis,
Strawberry Alarm Clock,
Blake Baxter,
Blossom Toes,
Max Romeo,
Justin Hinds & The Dominoes,
Alice Coltrane,
Sarah Menescal,
Ronnie Foster,
Johnny Clarke,
Todd Rundgren,
Janne Schatter,
Judy Mowatt,
Gabor Szabo,
Arthur Verocai,
Kool Moe Dee,
Gian Franco Pienzio,
Chris Corsano,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jesper Dahlbäck,
Agent Orange,
The United States of America,
Robert Görl,
The Men They Couldn't Hang,
The Busters,
ABC,
The Gun Club,
Deadbeat,
Kango’s Stein Massive,
Malaria!,
Fort Wilson Riot,
Monks,
Jerry Gold Smith,
The Birthday Party,
Hot Snakes,
Wolf Eyes,
The American Breed,
Von Mondo,
Young Marble Giants,
Flipper, Flipper, Flipper, Flipper.
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.