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 Moldova and from Jakarta.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 The Velvet Underground to the funk kids.
I played it at the Hacienda.
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 In Retrospect. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America 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?
Drive Like Jehu,
Scan 7,
The Slackers,
Jacob Miller,
Los Fastidios,
Tommy Roe,
Gang Starr,
Ossler,
Howard Jones,
Loose Ends,
Funky Four + One,
Amazonics,
Tres Demented,
Soulsonic Force,
Althea and Donna,
Surgeon,
Magma,
John Holt,
The Last Poets,
Main Source,
The Selecter,
Bobby Womack,
Sex Pistols,
Fluxion,
Zero Boys,
The Slits,
Peter Gordon & Love of Life Orchestra,
Kaleidoscope,
X-101,
Black Flag,
The Jesus and Mary Chain,
The Royal Family And The Poor,
Pulsallama,
Harmonia,
Underground Resistance,
Liliput,
Harpers Bizarre,
Shuggie Otis,
The Trojans,
Malaria!,
The Seeds,
Selector Dub Narcotic,
Swell Maps,
Pussy Galore,
Ash Ra Tempel,
Charles Mingus,
Tom Boy,
Graham Central Station,
Visionaries,LMNO, T- Love & Iriscience,
Minnie Riperton,
Eve St. Jones,
Slave,
Eurythmics,
Audionom,
Dark Day,
Rites of Spring,
The Young Rascals,
Accadde A,
The Names,
Agitation Free,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.