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 Slovakia and from Stockholm.
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 Glasgow and Portland.
I'm losing my edge to the art-school Lyon 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 marimba sounds with much patience.
I was there when Lou Reed 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 Urselle to the electroclash kids.
I played it at the Spitz.
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 Arab on Radar. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every The Gap Band 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
PIL,
Underground Resistance,
The Walker Brothers,
London Community Gospel Choir,
Matthew Halsall,
World's Most,
Tears for Fears,
Porter Ricks,
Rhythm & Sound,
Gang Gang Dance,
John Cale,
Ituana,
Ronnie Foster,
Ohio Players,
Ultravox,
The Names,
Jerry Gold Smith,
The Velvet Underground,
Fugazi,
KRS-One,
Tomorrow,
Con Funk Shun,
The Dead C,
The Doobie Brothers,
Gastr Del Sol,
Swell Maps,
the Association,
Lafayette Afro Rock Band,
Marc Almond,
Cabaret Voltaire,
Big Daddy Kane,
Notorious BIG live in Amsterdam,
Khruangbin,
Unrelated Segments,
Moby Grape,
Dave Gahan,
Magma,
Cal Tjader,
Neil Young & Crazy Horse,
the Normal,
Sixth Finger,
Bootsy Collins,
Interpol,
Crispian St. Peters,
Von Mondo,
Susan Cadogan,
The Divine Comedy,
Malaria!,
Accadde A,
Yazoo,
Fort Wilson Riot,
Gil Scott-Heron & Brian Jackson,
Scan 7,
Eric Copeland,
Wighnomy Brothers & Robag Wruhme,
Justin Hinds & The Dominoes,
Funkadelic,
Buzzcocks,
Eden Ahbez,
Siouxsie and the Banshees,
Mad Mike,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.