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 Sierra Leone and from Sao Paulo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Stockholm 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 güiro sounds with much patience.
I was there when Robert Palmer 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 New Age Steppers to the rock 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 Oblivians. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Amon Düül II 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 an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Traffic Nightmare,
Ajijia Myrayebe,
Mary Jane Girls,
Cheater Slicks,
The Neon Judgement,
Todd Rundgren,
The Jesus and Mary Chain,
Kerri Chandler,
Silicon Teens,
The Victims,
Gabor Szabo,
Althea and Donna,
Dorothy Ashby,
Fat Boys,
The West Coast Pop Art Experimental Band,
the Swans,
These Immortal Souls,
The Men They Couldn't Hang,
Letta Mbulu,
Jeff Lynne,
Lou Reed & Metallica,
Orchestral Manoeuvres in the Dark,
Metal Thangz,
Jawbox,
The Residents,
the Association,
Swans,
Severed Heads,
Can,
the Sonics,
Agent Orange,
Gang Starr,
Marvin Gaye,
Camberwell Now,
Mars,
Gil Scott-Heron and Jamie xx,
Juan Atkins,
Nik Kershaw,
Quantec,
China Crisis,
X-102,
cv313,
Girls At Our Best!,
Magazine,
The Pop Group,
Hoover,
Crooked Eye,
the Slits,
The United States of America,
Roxy Music,
Japan,
Ultra Naté,
Liaisons Dangereuses,
Harry Pussy,
New York Dolls,
Soft Machine,
Sparks,
Aaron Thompson,
Ultimate Spinach,
Ultravox,
MDC,
Schoolly D,
Au Pairs,
Ronan, Ronan, Ronan, Ronan.
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.