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 Indonesia and from Shanghai.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Taipei.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet 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 Vladislav Delay to the grime kids.
I played it at Cafe Wha.
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 Stiv Bators. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every David McCallum 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Y Pants,
Henry Cow,
Japan,
Janne Schatter,
Aaron Thompson,
Josef K,
Black Moon,
Camberwell Now,
Delon & Dalcan,
Blossom Toes,
Manfred Mann's Earth Band,
Basic Channel,
Kas Product,
Pere Ubu,
Niagra,
Kevin Saunderson,
The Dave Clark Five,
Ossler,
Pylon,
Bush Tetras,
Althea and Donna,
Bauhaus,
Agent Orange,
the Fania All-Stars,
H. Thieme,
Eli Mardock,
La Düsseldorf,
Howard Jones,
R.M.O.,
Gil Scott Heron,
The Evens,
Fluxion,
Theoretical Girls,
Lou Reed,
Ultra Naté,
The Cure,
Wolf Eyes,
Lebanon Hanover,
Orchestral Manoeuvres in the Dark,
Soft Cell,
Judy Mowatt,
The Blackbyrds,
Ajijia Myrayebe,
Warren Ellis,
Thinking Fellers Union Local 282,
Hoover,
The Leaves,
Dawn Penn,
Second Layer,
Ash Ra Tempel,
The Human League,
Ice-T,
Icehouse,
The Misunderstood,
Strawberry Alarm Clock,
Jacob Miller,
Oppenheimer Analysis,
Arab on Radar,
the Association,
X-101,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.