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 United Kingdom and from Stockholm.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Copenhagen.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Jacob Miller to the funk 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 A Certain Ratio. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal techno 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 a guitar and a marimba 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 linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Cameo,
The Walker Brothers,
Faust,
Blancmange,
Black Flag,
Barry Ungar,
Black Moon,
Supertramp,
The Vogues,
Yaz,
Fear,
Bush Tetras,
PIL,
Teenage Jesus and the Jerks,
Jeru the Damaja,
Motorama,
The Neon Judgement,
Joyce Sims,
Radiohead,
B.T. Express,
Brick,
The Smoke,
Vainqueur,
Saccharine Trust,
Scientists,
Strawberry Alarm Clock,
48th St. Collective,
Marine Girls,
FM Einheit,
Theoretical Girls,
The Buckinghams,
Funky Four + One,
Fatback Band,
Liliput,
Quando Quango,
Captain Beefheart & His Magic Band,
Joy Division,
The Jesus and Mary Chain,
Man Parrish,
Bobby Womack,
E-Dancer,
The Cramps,
The Offenders,
Sound Behaviour,
Pierre Henry,
L. Decosne,
Scion,
Public Image Ltd.,
Talk Talk,
The Durutti Column,
Ponytail,
The Kinks,
Eden Ahbez,
Pet Shop Boys,
Avey Tare's Slasher Flicks,
Rosa Yemen,
Fort Wilson Riot,
The Doors,
Todd Rundgren,
Kayak,
The Seeds, The Seeds, The Seeds, The Seeds.
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.