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 Kyrgyzstan and from Mexico City.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Seoul and New York.
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 1978 at the first Visage practice in a loft in London.
I was working on the rhodes 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 Idris Muhammad to the dance kids.
I played it at the Astoria.
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 Techniques. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Second Layer,
Morten Harket,
Model 500,
Roxy Music,
Faraquet,
Cluster,
Dennis Brown,
Swans,
David Axelrod,
Adolescents,
Johnny Osbourne,
Con Funk Shun,
Japan,
Reagan Youth,
The J.B.'s,
Albert Ayler,
The Grass Roots,
The Smiths,
Mars,
June Days,
Slave,
Motorama,
John Cale,
Unwound,
Wire,
Bad Manners,
Lyres,
Bill Wells,
Leonard Cohen,
The West Coast Pop Art Experimental Band,
Parry Music,
Rowland S Howard / Lydia Lunch,
Qualms,
Wally Richardson,
Curtis Mayfield,
Steve Hackett,
The Cowsills,
Deakin,
Black Bananas,
James White and The Blacks,
Kurtis Blow,
Erasure,
Section 25,
Infiniti,
Deepchord,
Joensuu 1685,
Thompson Twins,
Fad Gadget,
Harpers Bizarre,
The Human League,
The Vogues,
Drive Like Jehu,
Dead Boys,
Lou Reed & John Cale,
Scientists,
Y Pants,
Art Ensemble Of Chicago,
Procol Harum,
Hasil Adkins,
The Barracudas,
Bang On A Can,
Moebius,
Sight & Sound,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.