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 Ivory Coast and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Columbus 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 theremin sounds with much patience.
I was there when Lou Reed 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 Maleditus Sound to the punk kids.
I played it at the 40 Watt.
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 Johnny Clarke. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Warsaw,
Al Stewart,
The Modern Lovers,
Selector Dub Narcotic,
Louis and Bebe Barron,
Audionom,
Kurtis Blow,
Quando Quango,
the Soft Cell,
X-102,
Marc Romboy vs. Booka Shade,
Chrome,
Bobby Hutcherson,
Desert Stars,
Peter Gordon & Love of Life Orchestra,
Robert Wyatt,
Bootsy's Rubber Band,
Mo-Dettes,
Monolake,
Supertramp,
Blancmange,
The Young Rascals,
Yusef Lateef,
Rapeman,
Y Pants,
Tears for Fears,
Notorious Big And Bone Thugs,
Youth Brigade,
Drive Like Jehu,
JFA,
Boredoms,
The Residents,
Fort Wilson Riot,
Quantec,
Buzzcocks,
Neil Young & Crazy Horse,
Wings,
R.M.O.,
Japan,
Bizarre Inc.,
KRS-One,
Fear,
Tim Buckley,
Babytalk,
Lungfish,
Jeff Lynne,
Sex Pistols,
The Mojo Men,
Pussy Galore,
The West Coast Pop Art Experimental Band,
Blake Baxter,
Newcleus,
Aswad,
The Chocolate Watch Band,
Spoonie Gee,
Bobbi Humphrey,
Organ,
Harpers Bizarre,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.