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 Sweden and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Lyon and Halifax.
I'm losing my edge to the art-school Bologna 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 Chic practice in a loft in New York.
I was working on the linndrum 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 Barclay James Harvest to the rock kids.
I played it at the 40 Watt.
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 Shoche. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Franke,
Soft Machine,
Teenage Jesus and the Jerks,
Pierre Henry,
The West Coast Pop Art Experimental Band,
Stockholm Monsters,
Notorious BIG live in Amsterdam,
The Five Americans,
Oneida,
Leonard Cohen,
Joe Smooth,
David McCallum,
Dead Boys,
Scientists,
Rahsaan Roland Kirk,
Electric Prunes,
Carl Craig,
T. Rex,
Slave,
Agitation Free,
Symarip,
Stiv Bators,
X-101,
Fugazi,
Gang Green,
Unwound,
The Misunderstood,
The Blackbyrds,
Glambeats Corp.,
Pagans,
U.S. Maple,
Danielle Patucci,
Althea and Donna,
Camron Feat. Jay Z And Juelz,
Grauzone,
48th St. Collective,
The Remains,
The Raincoats,
CMW,
Interpol,
The Barracudas,
MC5,
Livin' Joy,
The Real Kids,
Byron Stingily,
Guru Guru,
Loose Ends,
Pharoah Sanders,
Amon Düül,
Nick Cave & The Bad Seeds,
Richard Hell and the Voidoids,
Liliput,
Al Stewart,
The Doors,
Michelle Simonal,
These Immortal Souls,
The Kinks,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.