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 Norway and from Milan.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 Lyon and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 mellotron 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 The Dirtbombs to the jazz kids.
I played it at the Spitz.
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 Peter & Gordon. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Crash Course in Science,
Desert Stars,
Amon Düül II,
Dual Sessions,
The Cramps,
Whodini,
The Moleskins,
Joensuu 1685,
Zapp,
Arab on Radar,
Jawbox,
Girls At Our Best!,
Hoover,
Monolake,
Kerri Chandler,
Tim Buckley,
The Slackers,
Delon & Dalcan,
Idris Muhammad,
Grandmaster Flash and the Furious Five,
John Holt,
Crime,
Kayak,
Maurizio,
Soul Sonic Force,
Matthew Halsall,
The Walker Brothers,
Harry Pussy,
Franke,
DJ Sneak,
Wasted Youth,
Model 500,
Nick Cave & The Bad Seeds,
B.T. Express,
Wings,
Althea and Donna,
Altered Images,
Godley & Creme,
Alison Limerick,
Dawn Penn,
Interpol,
Moss Icon,
Livin' Joy,
Byron Stingily,
The Index,
Groovy Waters,
Bobbi Humphrey,
June of 44,
PIL,
Ajijia Myrayebe,
Be Bop Deluxe,
Saccharine Trust,
Scott Walker,
These Immortal Souls,
Crispian St. Peters,
Electric Light Orchestra,
The J.B.'s,
The Divine Comedy,
Art Ensemble Of Chicago,
Anthony Braxton,
Eddi Front,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.