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 Indonesia and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Sao Paulo 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 linndrum 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 The Happenings to the techno kids.
I played it at the 40 Watt.
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 Jesper Dahlbäck. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
Talk Talk,
Television,
EPMD,
Ludus,
Japan,
James White and The Blacks,
Marc Almond,
The Barracudas,
Magma,
Outsiders,
Scratch Acid,
Crispian St. Peters,
Lightning Bolt,
Dennis Brown,
Vladislav Delay,
Bauhaus,
Mars,
Jesper Dahlbäck,
Rekid,
Fugazi,
A Certain Ratio,
Laurel Aitken,
Nation of Ulysses,
Barry Ungar,
The Beau Brummels,
Rakim,
The Young Rascals,
Ohio Players,
The Toasters,
The Techniques,
Andrew Ashong & Theo Parrish,
Andrew Hill,
Heavy D & The Boyz,
Robert Görl,
Lou Christie,
Rapeman,
Ronan,
Pantytec,
Flash Fearless,
Throbbing Gristle,
Lakeside,
Black Flag,
Erykah Badu,
The Names,
Oneida,
B.T. Express,
Lalann,
The Cramps,
The Peanut Butter Conspiracy,
Fat Boys,
Ice-T,
Peter and Kerry,
A Flock of Seagulls,
Roxy Music,
Slick Rick,
the Slits,
Mad Mike,
John Coltrane,
Television Personalities,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.