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 Guinea and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1979.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Philadelphia 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Rufus Thomas 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 Ultra Naté. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Audionom,
Bang On A Can,
Malaria!,
The Standells,
Al Stewart,
Parry Music,
Surgeon,
Rod Modell,
Sight & Sound,
Agitation Free,
Chrome,
The Associates,
Pere Ubu,
Louis and Bebe Barron,
Theoretical Girls,
The Doobie Brothers,
Susan Cadogan,
Gabor Szabo,
Lou Reed & Metallica,
Urselle,
Carl Craig,
Jawbox,
Warsaw,
The Happenings,
the Association,
Sonic Youth,
Desert Stars,
The Wake,
Camouflage,
Avey Tare's Slasher Flicks,
Joe Finger,
Ice-T,
The Royal Family And The Poor,
Brass Construction,
Model 500,
Main Source,
Radio Birdman,
Gian Franco Pienzio,
Marc Romboy vs. Booka Shade,
Big Daddy Kane,
The Young Rascals,
Shoche,
The Fall,
The Flesh Eaters,
the Soft Cell,
David McCallum,
The Evens,
Gastr Del Sol,
Stereo Dub,
Wings,
The Electric Prunes,
Sister Nancy,
The Motions,
Eric B and Rakim,
Marc Almond,
Funky Four + One,
The Saints,
Scrapy,
Marine Girls,
Ohio Players,
Hasil Adkins,
Moebius, Moebius, Moebius, Moebius.
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.