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 Sudan and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Toronto 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 organ 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 Althea and Donna to the grunge kids.
I played it at the Spitz.
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 Hardrive. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every Oblivians 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 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 Gun Club,
Section 25,
The Blues Magoos,
Stereo Dub,
The Buckinghams,
Soulsonic Force,
Qualms,
Terry Callier,
Maurizio,
Masters at Work,
The Fall,
R.M.O.,
Gang Starr,
Deadbeat,
Bang On A Can,
Cal Tjader,
Mars,
Vladislav Delay,
The Modern Lovers,
Eric B and Rakim,
Ludus,
Ultramagnetic MC's,
Art Ensemble Of Chicago,
The Sonics,
Graham Central Station,
The Selecter,
Marshall Jefferson,
Harpers Bizarre,
Pete Rock & C.L. Smooth,
Traffic Nightmare,
D'Angelo,
PIL,
E-Dancer,
Procol Harum,
Pere Ubu,
Frankie Knuckles,
The Happenings,
Monolake,
Notorious BIG live in Amsterdam,
Arthur Verocai,
Ituana,
UT,
The Kinks,
Louis and Bebe Barron,
Kerrie Biddell,
Roxette,
Vainqueur,
The Dirtbombs,
Franke,
Ultravox,
Tres Demented,
Kerri Chandler,
Cybotron,
Beasts of Bourbon,
The Dead C,
Rotary Connection,
Tim Buckley,
The Peanut Butter Conspiracy,
The Young Rascals,
The Walker Brothers,
Fifty Foot Hose,
Loose Ends,
the Association, the Association, the Association, the Association.
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.