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 Cameroon and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in New York and Jakarta.
I'm losing my edge to the art-school Salvador 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Roxette to the rock kids.
I played it at the Hacienda.
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 Marc Romboy vs. Booka Shade. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Yellowson 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Notorious Big And Bone Thugs,
June of 44,
Magazine,
The Pop Group,
Throbbing Gristle,
The Blues Magoos,
Kayak,
Gregory Isaacs,
Duran Duran,
The Offenders,
Kas Product,
The Evens,
New York Dolls,
The Mummies,
Isaac Hayes,
Susan Cadogan,
Jeff Lynne,
China Crisis,
Bobby Hutcherson,
Judy Mowatt,
Charles Mingus,
LL Cool J,
Louis and Bebe Barron,
The Slackers,
John Lydon,
Stereo Dub,
Black Sheep,
Eyeless In Gaza,
Lonnie Liston Smith,
Hardrive,
Chris Corsano,
Minor Threat,
Lower 48,
48th St. Collective,
Sun City Girls,
Pharoah Sanders,
Darondo,
Model 500,
The New Christs,
E-Dancer,
The Dead C,
Khruangbin,
Shuggie Otis,
Scott Walker + Sunn O))),
Ponytail,
Infiniti,
Mars,
Visage,
Echospace,
Fad Gadget,
The Happenings,
Derrick Morgan,
Faust,
Brand Nubian,
Bauhaus,
Panda Bear,
Dual Sessions,
Public Image Ltd.,
Barry Ungar,
The Move,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.