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 Tunisia and from London.
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 Tehran and Delhi.
I'm losing my edge to the art-school Edmonton 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Siouxsie and the Banshees to the funk kids.
I played it at the Crocodile.
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 Electric Prunes. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Clear Light,
Pere Ubu,
Bobby Sherman,
Jacques Brel,
Cecil Taylor,
Charles Mingus,
The Fall,
Danielle Patucci,
Sun Ra,
Roxette,
Bootsy Collins,
The Human League,
Q and Not U,
Boogie Down Productions,
Rotary Connection,
Khruangbin,
MDC,
Joensuu 1685,
Drive Like Jehu,
Harmonia,
Gil Scott-Heron & Brian Jackson,
Dark Day,
H. Thieme,
Swell Maps,
John Lydon,
Ken Boothe,
Bob Dylan,
Quantec,
Wasted Youth,
Black Moon,
Minutemen,
Thompson Twins,
Main Source,
Sällskapet,
Soul II Soul,
Vladislav Delay,
Ultra Naté,
A Flock of Seagulls,
Shuggie Otis,
Maurizio,
Procol Harum,
Traffic Nightmare,
E-Dancer,
Kerri Chandler,
Jerry's Kids,
Roy Ayers,
Cluster,
Animal Collective,
Eden Ahbez,
Minnie Riperton,
Toni Rubio,
John Foxx,
Deutsch Amerikanische Freundschaft,
Joe Finger,
The Saints,
The Names,
Sight & Sound,
Bizarre Inc.,
Alison Limerick,
Barbara Tucker,
Siouxsie and the Banshees,
Alton Ellis,
Chrome, Chrome, Chrome, Chrome.
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.