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 New Zealand and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school London 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 synthesizer 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 Crime to the disco kids.
I played it at the Crocodile.
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 Bobbi Humphrey. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every X-Ray Spex 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Soft Cell,
Pole,
John Coltrane,
Rites of Spring,
Icehouse,
Animal Collective,
Brick,
A Flock of Seagulls,
Lower 48,
Sad Lovers and Giants,
Siglo XX,
The West Coast Pop Art Experimental Band,
Sound Behaviour,
Gang Gang Dance,
Skarface,
Delon & Dalcan,
Average White Band,
Mandrill,
Angry Samoans,
LL Cool J,
Jeff Lynne,
The Chocolate Watch Band,
PIL,
Louis and Bebe Barron,
Dead Boys,
Cheater Slicks,
Man Eating Sloth,
The Standells,
Ten City,
The Victims,
Moss Icon,
Curtis Mayfield,
Anakelly,
The Dave Clark Five,
Quando Quango,
Talk Talk,
Negative Approach,
48th St. Collective,
Dark Day,
Newcleus,
Bauhaus,
Wighnomy Brothers & Robag Wruhme,
The Selecter,
Black Flag,
Y Pants,
Black Pus,
T.S.O.L.,
Ultravox,
Avey Tare,
Flash Fearless,
Soulsonic Force,
Freddie Wadling,
Swans,
Chris & Cosey,
Big Daddy Kane,
Reuben Wilson,
Hasil Adkins,
Spoonie Gee,
Andrew Hill,
Ponytail, Ponytail, Ponytail, Ponytail.
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.