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 Palau and from Taipei.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Delhi 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 at the first Suicide practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Wolf Eyes to the electroclash 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 Rowland S Howard / Lydia Lunch. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Ken Boothe,
Susan Cadogan,
MDC,
Matthew Halsall,
Danielle Patucci,
Tom Boy,
Junior Murvin,
Lizzy Mercier Descloux,
Sandy B,
Eric B and Rakim,
Angels of Light & Akron/Family,
H. Thieme,
Harmonia,
Sun Ra,
Bluetip,
Parry Music,
Dennis Brown,
Blake Baxter,
Freddie Wadling,
Jawbox,
Desert Stars,
Alice Coltrane,
Captain Beefheart & His Magic Band,
Bootsy's Rubber Band,
World's Most,
The Royal Family And The Poor,
Rhythm & Sound,
Ludus,
Agitation Free,
Porter Ricks,
Delon & Dalcan,
Public Image Ltd.,
the Human League,
Suburban Knight,
The Cowsills,
Marvin Gaye,
Amon Düül,
Peter Gordon & Love of Life Orchestra,
The Smoke,
10cc,
A Flock of Seagulls,
Lou Reed,
Gastr Del Sol,
The West Coast Pop Art Experimental Band,
Scratch Acid,
The Slits,
Lou Reed & John Cale,
Tim Buckley,
Funkadelic,
The Cosmic Jokers,
Babytalk,
Rahsaan Roland Kirk,
The Blackbyrds,
Skaos,
K-Klass,
Pet Shop Boys,
This Heat,
Joyce Sims,
The Electric Prunes,
Quantec,
Clear Light, Clear Light, Clear Light, Clear Light.
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.