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 Ghana and from Paris.
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 1965 to 1979.
I'm losing my edge.
To all the kids in New York and Spokane.
I'm losing my edge to the art-school Edmonton 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 organ sounds with much patience.
I was there when Lou Reed 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 Index to the techno 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 Kaleidoscope. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Thinking Fellers Union Local 282,
Blancmange,
John Holt,
Nico,
Outsiders,
Max Romeo,
The Star Department,
Idris Muhammad,
Davy DMX,
L. Decosne,
Terrestrial Tones,
Loose Ends,
Bauhaus,
Hashim,
Visage,
Chrome,
The Gories,
Tres Demented,
DJ Style,
Gian Franco Pienzio,
Siglo XX,
Matthew Halsall,
D'Angelo,
Howard Jones,
Camouflage,
X-101,
Dennis Brown,
Aloha Tigers,
Flamin' Groovies,
PIL,
E-Dancer,
Alphaville,
Jacob Miller,
Little Man,
Bootsy's Rubber Band,
Freddie Wadling,
Cameo,
Liaisons Dangereuses,
Pulsallama,
Pole,
Gang Starr,
Drive Like Jehu,
Scratch Acid,
The Five Americans,
Underground Resistance,
The Blackbyrds,
Quando Quango,
Stetsasonic,
The Fuzztones,
The Searchers,
Bush Tetras,
Essential Logic,
Adolescents,
The Sound,
Mission of Burma,
Kerrie Biddell,
Darondo,
Jawbox,
Skaos,
The Standells,
The Litter,
Juan Atkins,
UT, UT, UT, UT.
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.