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 Italy and from Beijing.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Portland 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Alarm Clocks to the techno 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 T.S.O.L.. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Pussy Galore 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Brick,
Spandau Ballet,
Gang of Four,
Dave Gahan,
cv313,
Moby Grape,
The Slits,
The Standells,
T. Rex,
Desert Stars,
Thinking Fellers Union Local 282,
Kenny Larkin,
Siglo XX,
Röyhkä ja Rättö ja Lehtisalo,
Jerry's Kids,
Crispy Ambulance,
The Flesh Eaters,
Wasted Youth,
Marc Romboy vs. Booka Shade,
48th St. Collective,
Gian Franco Pienzio,
Dorothy Ashby,
Girls At Our Best!,
the Bar-Kays,
Heavy D & The Boyz,
Godley & Creme,
Cecil Taylor,
Grandmaster Flash and the Furious Five,
Thompson Twins,
U.S. Maple,
Cheater Slicks,
Q and Not U,
Pere Ubu,
Essential Logic,
Rod Modell,
Groovy Waters,
Scion,
Cameo,
Kerri Chandler,
Jawbox,
Symarip,
Crime,
N.O.R.E. Featuring Pharrell,
Mr. Review,
June Days,
John Lydon,
Stockholm Monsters,
Tom Boy,
Ohio Players,
Man Parrish,
The Dead C,
Notorious BIG live in Amsterdam,
Accadde A,
Black Pus,
James White and The Blacks,
The Remains,
Minutemen,
Ultimate Spinach,
Soul Sonic Force,
Rekid,
Judy Mowatt,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.