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 St Lucia and from Milan.
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 1972.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Seoul 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 arpeggiator 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 Nirvana to the dance kids.
I played it at Trash.
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 Stockholm Monsters. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
8 Eyed Spy,
Masters at Work,
Ultravox,
Q65,
The Royal Family And The Poor,
Alphaville,
Toni Rubio,
The Gun Club,
Excepter,
Spandau Ballet,
Mandrill,
Captain Beefheart & His Magic Band,
London Community Gospel Choir,
Japan,
Idris Muhammad,
The Monochrome Set,
Trumans Water,
Piero Umiliani,
Absolute Body Control,
Derrick Morgan,
Danielle Patucci,
Drive Like Jehu,
Robert Hood,
Eden Ahbez,
Echo & the Bunnymen,
Mantronix,
Pussy Galore,
Barry Ungar,
The Seeds,
Brothers Johnson,
The Cramps,
The Flesh Eaters,
One Last Wish,
DJ Style,
Notorious BIG live in Amsterdam,
Bronski Beat,
Aaron Thompson,
Skarface,
Cybotron,
Eve St. Jones,
The Selecter,
The Standells,
The Smoke,
Kool G Rap & DJ Polo,
Donald Byrd,
Guru Guru,
Boredoms,
James Chance & The Contortions,
Mark Hollis,
Ohio Players,
Saccharine Trust,
Liaisons Dangereuses,
Selector Dub Narcotic,
Gil Scott-Heron and Jamie xx,
Minor Threat,
Lafayette Afro Rock Band,
Swell Maps,
Stockholm Monsters,
Marc Almond,
Procol Harum,
Flash Fearless,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.