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 Turkey and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
I'm losing my edge to the art-school Copenhagen 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 snare 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 The Cure to the dance kids.
I played it at the Troubador.
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 The Pop Group. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Neil Young 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Jeff Lynne,
Black Moon,
Mars,
Marshall Jefferson,
Fatback Band,
Rosa Yemen,
Pussy Galore,
Warren Ellis,
John Holt,
the Swans,
JFA,
Soft Cell,
Harpers Bizarre,
Con Funk Shun,
Roxy Music,
Urselle,
Moss Icon,
Kenny Larkin,
Scrapy,
Lungfish,
Marcia Griffiths,
Hoover,
the Germs,
The Kinks,
Eden Ahbez,
Tropical Tobacco,
Gerry Rafferty,
The Seeds,
Beasts of Bourbon,
Heavy D & The Boyz,
Sun Ra,
The Cosmic Jokers,
Red Lorry Yellow Lorry,
Jeru the Damaja,
Pantytec,
X-Ray Spex,
Archie Shepp,
Fort Wilson Riot,
These Immortal Souls,
Model 500,
Monolake,
Masters at Work,
Peter and Kerry,
Scott Walker + Sunn O))),
The Modern Lovers,
The Chocolate Watch Band,
the Bar-Kays,
Wings,
Notorious BIG live in Amsterdam,
CMW,
This Heat,
The Human League,
Electric Prunes,
Supertramp,
Siouxsie and the Banshees,
Cymande,
Schoolly D,
Terrestrial Tones,
The Golliwogs,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.