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 Saudi Arabia and from Copenhagen.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Tokyo.
I'm losing my edge to the art-school Woodstock 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Parry Music to the grunge 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 Roxette. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Deadbeat 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
the Swans,
Aural Exciters,
Brothers Johnson,
Glambeats Corp.,
Henry Cow,
Brick,
Little Man,
Wings,
The Chocolate Watch Band,
The Blues Magoos,
Max Romeo,
Gichy Dan,
Black Sheep,
The Dead C,
Theoretical Girls,
Black Bananas,
The Count Five,
Magma,
Ohio Players,
Charles Mingus,
The Dirtbombs,
The Fall,
Boz Scaggs,
Nick Fraelich,
Lou Christie,
Gary Puckett & The Union Gap,
Dawn Penn,
Supertramp,
Popol Vuh,
Main Source,
The Cramps,
Wire,
Yazoo,
Organ,
Das Ding,
Black Flag,
Bronski Beat,
Kaleidoscope,
Cabaret Voltaire,
The Monochrome Set,
The Sisters of Mercy,
Joensuu 1685,
The Mojo Men,
Marcia Griffiths,
Absolute Body Control,
Harry Pussy,
Todd Terry,
Bobby Byrd,
Sugar Minott,
Minny Pops,
Röyhkä ja Rättö ja Lehtisalo,
Red Lorry Yellow Lorry,
Selector Dub Narcotic,
B.T. Express,
Jesper Dahlback,
Smog,
Alphaville,
The Fortunes,
Jandek,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.