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 Czech Republic and from Seoul.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Beijing and Manchester.
I'm losing my edge to the art-school Salvador 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Althea and Donna to the crunk 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 Kas Product. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Fugazi 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
The Trojans,
Whodini,
Amon Düül II,
World's Most,
Ultimate Spinach,
Bill Near,
Eyeless In Gaza,
Soft Cell,
Livin' Joy,
The Velvet Underground,
Letta Mbulu,
Mission of Burma,
Visionaries,LMNO, T- Love & Iriscience,
Television,
Dorothy Ashby,
CMW,
Crooked Eye,
Slave,
The Black Dice,
Section 25,
Fluxion,
The Jesus and Mary Chain,
Moby Grape,
Maleditus Sound,
Lou Reed,
Sad Lovers and Giants,
Judy Mowatt,
Flamin' Groovies,
ABBA,
Davy DMX,
Colin Newman,
Heavy D & The Boyz,
The Associates,
The Durutti Column,
Alice Coltrane,
Amon Düül,
Barbara Tucker,
Mr. Review,
Gil Scott Heron,
Albert Ayler,
Jeru the Damaja,
Alison Limerick,
Delta 5,
T.S.O.L.,
The Barracudas,
Blossom Toes,
Joy Division,
Rhythim Is Rhythim,
Mary Jane Girls,
Qualms,
Marmalade,
Throbbing Gristle,
Lucky Dragons,
Scrapy,
Michelle Simonal,
Sällskapet,
Spandau Ballet,
Cybotron,
Darondo,
The Chocolate Watch Band,
Kenny Larkin,
The Alarm Clocks,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.