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 Luxembourg and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1965 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
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 guitar 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 Eden Ahbez to the dance kids.
I played it at the Crocodile.
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 Oppenheimer Analysis. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Fear 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Sixth Finger,
Heavy D & The Boyz,
R.M.O.,
Jeff Lynne,
Colin Newman,
Rhythim Is Rhythim,
The Sisters of Mercy,
Dennis Brown,
Wasted Youth,
Quantec,
The Associates,
Lyres,
The Moleskins,
Desert Stars,
The Stooges,
Hoover,
Malaria!,
The Modern Lovers,
Orchestral Manoeuvres in the Dark,
Bobby Hutcherson,
Rod Modell,
Avey Tare's Slasher Flicks,
Can,
Minor Threat,
Flipper,
Cecil Taylor,
Lou Reed & John Cale,
Dawn Penn,
Circle Jerks,
Visionaries,LMNO, T- Love & Iriscience,
Amazonics,
Japan,
Gil Scott-Heron & Brian Jackson,
This Heat,
Howard Jones,
Mr. Review,
John Foxx,
Ten City,
Deutsch Amerikanische Freundschaft,
Joensuu 1685,
Porter Ricks,
Iggy Pop,
Harmonia,
Clear Light,
Technova,
The Kinks,
Pere Ubu,
Minnie Riperton,
Godley & Creme,
Schoolly D,
Rowland S Howard / Lydia Lunch,
Scott Walker,
Gregory Isaacs,
Sarah Menescal,
Main Source,
Bill Near,
Fugazi,
Albert Ayler,
Nick Fraelich,
the Association,
The Cure, The Cure, The Cure, The Cure.
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.