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 Lithuania and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Copenhagen 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 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 The Dave Clark Five to the rock 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 Circle Jerks. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Scion 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Supertramp,
Sound Behaviour,
Sad Lovers and Giants,
The West Coast Pop Art Experimental Band,
Amon Düül II,
Tears for Fears,
Sly & The Family Stone,
F. McDonald,
Eric Dolphy,
The Wake,
Quadrant,
Jerry's Kids,
Marmalade,
Thinking Fellers Union Local 282,
Lindisfarne,
Jandek,
Lou Reed,
Young Marble Giants,
Gang Starr,
Gian Franco Pienzio,
Television Personalities,
Big Daddy Kane,
Silicon Teens,
Visage,
Girls At Our Best!,
Swell Maps,
DJ Sneak,
Orchestral Manoeuvres in the Dark,
Das Ding,
Bizarre Inc.,
Cheater Slicks,
Peter and Kerry,
Sixth Finger,
ABBA,
Procol Harum,
Infiniti,
CMW,
The Dave Clark Five,
The Five Americans,
Sugar Minott,
Gastr Del Sol,
Be Bop Deluxe,
Kenny Larkin,
Moby Grape,
The Shadows of Knight,
Dark Day,
Ituana,
Icehouse,
Joensuu 1685,
Joe Smooth,
Todd Rundgren,
Jimmy McGriff,
Ken Boothe,
Minor Threat,
Al Stewart,
Darondo,
Letta Mbulu,
The Buckinghams,
The Walker Brothers,
The Slackers,
The Fugs, The Fugs, The Fugs, The Fugs.
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.