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 Peru and from Edmonton.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Tehran and Beijing.
I'm losing my edge to the art-school London 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 synthesizer 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 The Velvet Underground to the dance kids.
I played it at the Troubador.
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 Cluster. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every N.O.R.E. Featuring Pharrell record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Wally Richardson,
Ice-T,
Sad Lovers and Giants,
Soul II Soul,
Hoover,
The Fortunes,
Youth Brigade,
Surgeon,
Sight & Sound,
The Shadows of Knight,
Eyeless In Gaza,
Kenny Larkin,
The Cowsills,
Blossom Toes,
Buzzcocks,
Jimmy McGriff,
The Zeros,
Essential Logic,
Hashim,
Alison Limerick,
Glenn Branca,
Arcadia,
Gastr Del Sol,
The Red Krayola,
the Soft Cell,
Curtis Mayfield,
the Sonics,
Pharoah Sanders,
Mr. Review,
Faust,
Infiniti,
Traffic Nightmare,
Junior Murvin,
Cymande,
It's A Beautiful Day,
The Divine Comedy,
Angels of Light & Akron/Family,
Little Man,
Q and Not U,
DJ Style,
Dorothy Ashby,
The Barracudas,
Urselle,
David McCallum,
The Electric Prunes,
The Moody Blues,
Ultimate Spinach,
MDC,
Gang Gang Dance,
Royal Trux,
Throbbing Gristle,
L. Decosne,
Dennis Brown,
Reagan Youth,
Man Eating Sloth,
The Sisters of Mercy,
Stockholm Monsters,
Dave Gahan,
Steve Hackett,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.