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 Nigeria and from Hong Kong.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Beijing 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Interpol to the punk kids.
I played it at CBGB's.
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 Lalann. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
The Invisible,
Radiopuhelimet,
Talk Talk,
The Detroit Cobras,
Leonard Cohen,
The Red Krayola,
Motorama,
Flamin' Groovies,
Gang Starr,
Fort Wilson Riot,
The Jesus and Mary Chain,
Khruangbin,
Super Lover Cee & Casanova Rud,
D'Angelo,
Harry Pussy,
Ludus,
Derrick Morgan,
Scott Walker,
Minnie Riperton,
AZ,
Red Lorry Yellow Lorry,
Electric Prunes,
Qualms,
T.S.O.L.,
Eden Ahbez,
Dark Day,
Glambeats Corp.,
Camouflage,
Loose Ends,
The Gun Club,
Beasts of Bourbon,
the Fania All-Stars,
Ronnie Foster,
Eyeless In Gaza,
Kerri Chandler,
Graham Central Station,
Kas Product,
The Zeros,
The Leaves,
Cameo,
Teenage Jesus and the Jerks,
Arthur Verocai,
Eve St. Jones,
Funky Four + One,
Kool G Rap & DJ Polo,
Con Funk Shun,
John Coltrane,
Roxy Music,
Rotary Connection,
The Monochrome Set,
June Days,
Minutemen,
the Germs,
Saccharine Trust,
Pantaleimon,
The Techniques,
Yazoo,
Heavy D & The Boyz,
Swans,
These Immortal Souls,
The Toasters, The Toasters, The Toasters, The Toasters.
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.