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 Nauru and from Taipei.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Toronto and Salvador.
I'm losing my edge to the art-school Cairo 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 1973 at the first Television practice in a loft in New York.
I was working on the organ sounds with much patience.
I was there when David Bowie 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 Main Source to the rock 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 Richard Hell and the Voidoids. All the underground hits.
All Television tracks. I heard you have a vinyl of every 48th St. Collective 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 '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Mark Hollis,
Johnny Clarke,
Sällskapet,
MDC,
Ralphi Rosario,
Bronski Beat,
Jerry's Kids,
Gil Scott-Heron and Jamie xx,
Rod Modell,
Laurel Aitken,
Swans,
London Community Gospel Choir,
Subhumans,
Eurythmics,
Black Pus,
The Cramps,
Liaisons Dangereuses,
Archie Shepp,
Althea and Donna,
Josef K,
Talk Talk,
Joe Smooth,
The Tremeloes,
Hardrive,
Scott Walker + Sunn O))),
Justin Hinds & The Dominoes,
Pierre Henry,
Rhythm & Sound,
Connie Case,
Eyeless In Gaza,
Amon Düül,
Avey Tare & Kría Brekkan,
Drive Like Jehu,
8 Eyed Spy,
Cheater Slicks,
Ituana,
Fugazi,
Television,
Minutemen,
Gabor Szabo,
Nirvana,
Kerrie Biddell,
Siouxsie and the Banshees,
Gian Franco Pienzio,
Carl Craig,
Sam Rivers,
Yaz,
June Days,
Avey Tare's Slasher Flicks,
The Blues Magoos,
Alison Limerick,
Magazine,
Moebius,
Bobby Byrd,
T.S.O.L.,
Dorothy Ashby,
Orchestral Manoeuvres in the Dark,
Nick Cave & The Bad Seeds,
Severed Heads,
Danielle Patucci,
Mantronix,
The Sisters of Mercy,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.