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 Guyana and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television 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 1969 to 1973.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school London 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Malaria! to the disco kids.
I played it at the Troubador.
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 Cabaret Voltaire. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Lou Reed 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
The American Breed,
Organ,
Surgeon,
Young Marble Giants,
Silicon Teens,
Royal Trux,
David McCallum,
Slave,
Sad Lovers and Giants,
The Divine Comedy,
The Motions,
Barrington Levy,
Scientists,
Junior Murvin,
Average White Band,
The Detroit Cobras,
The United States of America,
Vladislav Delay,
Cybotron,
Yazoo,
The Skatalites,
The Wake,
Ossler,
Lou Reed,
Ohio Players,
The Modern Lovers,
Sly & The Family Stone,
Barbara Tucker,
Depeche Mode,
Amazonics,
Richard Hell and the Voidoids,
The Dave Clark Five,
Ronnie Foster,
Soft Machine,
Man Eating Sloth,
New Order,
The Jesus and Mary Chain,
U.S. Maple,
Archie Shepp,
X-Ray Spex,
Little Man,
Röyhkä ja Rättö ja Lehtisalo,
The Fuzztones,
L. Decosne,
Magma,
John Lydon,
Cameo,
The Cramps,
The Kinks,
This Heat,
Major Organ And The Adding Machine,
Gong,
Radiopuhelimet,
Blossom Toes,
Todd Rundgren,
Reagan Youth,
Symarip,
Shoche,
Cal Tjader,
Bill Wells,
Hardrive, Hardrive, Hardrive, Hardrive.
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.