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 Colombia and from London.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Taipei and Spokane.
I'm losing my edge to the art-school Mexico City 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Bush Tetras to the funk 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 The Doors. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Mojo Men,
Skriet,
Lower 48,
Q and Not U,
Newcleus,
L. Decosne,
Marc Almond,
Audionom,
Selector Dub Narcotic,
Connie Case,
Can,
Harmonia,
Mary Jane Girls,
The Knickerbockers,
Cluster,
Andrew Hill,
Technova,
June Days,
Howard Jones,
The Velvet Underground,
Gichy Dan,
David Axelrod,
Deakin,
Stetsasonic,
Faraquet,
Lalo Schifrin,
the Association,
Jacob Miller,
Matthew Halsall,
Whodini,
Gregory Isaacs,
Ralphi Rosario,
De La Soul & Jungle Brothers,
Inner City,
Rhythm & Sound,
Second Layer,
The Neon Judgement,
John Lydon,
Metal Thangz,
The Peanut Butter Conspiracy,
The Barracudas,
The Music Machine,
Cal Tjader,
the Swans,
Stockholm Monsters,
Brick,
Throbbing Gristle,
Bill Near,
Altered Images,
Sex Pistols,
Vladislav Delay,
Kauko Röyhkä ja Narttu,
Kurtis Blow,
The Mummies,
Magazine,
Sticky Fingaz feat. Raekwon,
D'Angelo,
The Sound,
Wolf Eyes,
Japan,
Ponytail,
X-Ray Spex,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.