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 Belgium and from Sao Paulo.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Portland and Taipei.
I'm losing my edge to the art-school Manila 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 rhodes 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 The Cure to the electroclash 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 Beasts of Bourbon. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Cheater Slicks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre 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?
E-Dancer,
Black Pus,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Cramps,
Dark Day,
Sarah Menescal,
Lizzy Mercier Descloux,
Massinfluence,
Rowland S Howard / Lydia Lunch,
Eric B and Rakim,
Maleditus Sound,
Electric Prunes,
Dead Boys,
Albert Ayler,
The Invisible,
Girls At Our Best!,
The Alarm Clocks,
DeepChord presents Echospace,
Wolf Eyes,
Jeff Lynne,
Junior Murvin,
The American Breed,
Dave Gahan,
Ken Boothe,
David McCallum,
Lonnie Liston Smith,
The Neon Judgement,
Chris & Cosey,
Lou Reed,
Bill Wells,
Eli Mardock,
Larry & the Blue Notes,
Lafayette Afro Rock Band,
Cymande,
Drexciya,
Swans,
John Coltrane,
Wally Richardson,
Subhumans,
Grandmaster Flash,
Jawbox,
Deepchord,
B.T. Express,
Japan,
Los Fastidios,
Minnie Riperton,
Gian Franco Pienzio,
Lower 48,
World's Most,
Charles Mingus,
Todd Rundgren,
Moby Grape,
Colin Newman,
Smog,
Youth Brigade,
Siglo XX,
Kings Of Tomorrow,
The Associates,
Procol Harum,
Outsiders,
Derrick Morgan,
The Moody Blues,
Das Ding, Das Ding, Das Ding, Das Ding.
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.