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 Malta and from Tokyo.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Milan 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 Echo & the Bunnymen 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 Soulsonic Force. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Aswad record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Jacques Brel,
Gang Gang Dance,
Be Bop Deluxe,
The Index,
The United States of America,
Jesper Dahlback,
Heavy D & The Boyz,
Robert Hood,
Bizarre Inc.,
Mark Hollis,
UT,
Eric B and Rakim,
Dawn Penn,
Mary Jane Girls,
Jawbox,
Slave,
Jeff Lynne,
The Martian,
Alphaville,
Sex Pistols,
Con Funk Shun,
Camouflage,
Black Sheep,
Public Image Ltd.,
Q and Not U,
Cecil Taylor,
Kool G Rap & DJ Polo,
The Dirtbombs,
Ponytail,
Chrome,
Sandy B,
Lou Reed & John Cale,
Hasil Adkins,
Smog,
The Skatalites,
Maleditus Sound,
Glambeats Corp.,
The Golliwogs,
Adolescents,
L. Decosne,
Bootsy Collins,
Sun Ra Arkestra,
The Cosmic Jokers,
Index,
Barclay James Harvest,
ABC,
Bush Tetras,
R.M.O.,
Deepchord,
Lee Hazlewood,
Mission of Burma,
Symarip,
Gichy Dan,
Lou Reed & Metallica,
Henry Cow,
The Moleskins,
Television,
Monolake,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.