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 Chile and from Jakarta.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1977.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Bremen 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 snare 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 Mandrill to the grunge kids.
I played it at the Astoria.
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 Public Image Ltd.. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
the Germs,
Johnny Clarke,
Parry Music,
Make Up,
Mad Mike,
Drive Like Jehu,
Howard Jones,
Visage,
Rowland S Howard / Lydia Lunch,
Vaughan Mason & Crew,
Rhythm & Sound,
Isaac Hayes,
James Chance & The Contortions,
Subhumans,
Young Marble Giants,
Alice Coltrane,
Erasure,
Japan,
Fugazi,
Delon & Dalcan,
Vladislav Delay,
Ossler,
Barry Ungar,
the Fania All-Stars,
Roxy Music,
Rites of Spring,
Man Parrish,
Ken Boothe,
Rotary Connection,
The Smoke,
Heavy D & The Boyz,
Jacques Brel,
Tim Buckley,
Youth Brigade,
Fort Wilson Riot,
the Human League,
Roxette,
Oppenheimer Analysis,
A Certain Ratio,
OOIOO,
Suicide,
Kerri Chandler,
Zero Boys,
Moss Icon,
Bootsy Collins,
Alphaville,
Grandmaster Flash and the Furious Five,
Adolescents,
Piero Umiliani,
Cecil Taylor,
The Grass Roots,
Jesper Dahlbäck,
Soul II Soul,
The Last Poets,
Circle Jerks,
The Music Machine,
Eric B and Rakim,
Ten City,
Todd Rundgren,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.