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 Morocco and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1972.
I'm losing my edge.
To all the kids in Mexico City and Spokane.
I'm losing my edge to the art-school Accra 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Rhythm & Sound to the electroclash 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 Alton Ellis. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Y Pants,
Jandek,
Nick Fraelich,
Adolescents,
Depeche Mode,
Mark Hollis,
The Toasters,
Notorious Big And Bone Thugs,
Ronnie Foster,
Liaisons Dangereuses,
Eddi Front,
Unwound,
Althea and Donna,
Eurythmics,
The Gun Club,
Stockholm Monsters,
Groovy Waters,
Avey Tare,
Saccharine Trust,
Reagan Youth,
Masters at Work,
Ten City,
Rhythim Is Rhythim,
Matthew Bourne,
Popol Vuh,
The Monks,
Liliput,
Connie Case,
Chris & Cosey,
The Tremeloes,
Mantronix,
Minny Pops,
Gregory Isaacs,
Gian Franco Pienzio,
Ultimate Spinach,
The Dead C,
Sugar Minott,
Scion,
Circle Jerks,
The Evens,
Nico,
Urselle,
Cybotron,
Chrome,
The Electric Prunes,
Kurtis Blow,
The Trojans,
D'Angelo,
The Young Rascals,
Grauzone,
Joe Finger,
Marc Almond,
Boz Scaggs,
Frankie Knuckles,
ABBA,
Girls At Our Best!,
Drive Like Jehu,
Manfred Mann's Earth Band,
Average White Band,
Suburban Knight,
Peter and Kerry,
Main Source,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.