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 United States and from Glasgow.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
I'm losing my edge to the art-school Manchester 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 The Standells to the rock 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 Massinfluence. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every the Fania All-Stars record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Röyhkä ja Rättö ja Lehtisalo,
Main Source,
Wolf Eyes,
Rakim,
Ludus,
The Motions,
Mr. Review,
Soul Sonic Force,
The Evens,
Major Organ And The Adding Machine,
T. Rex,
Arthur Verocai,
Selector Dub Narcotic,
Minor Threat,
Robert Wyatt,
Crash Course in Science,
Kaleidoscope,
Marmalade,
Radiopuhelimet,
Art Ensemble Of Chicago,
Ten City,
Chrome,
Agent Orange,
Fatback Band,
Echo & the Bunnymen,
Tubeway Army,
London Community Gospel Choir,
Ossler,
Organ,
Soft Machine,
Jeff Mills,
Fear,
Scott Walker,
Bobby Byrd,
Teenage Jesus and the Jerks,
Richard Hell and the Voidoids,
In Retrospect,
Deakin,
Crooked Eye,
Brothers Johnson,
Don Cherry,
Oppenheimer Analysis,
Johnny Clarke,
Pussy Galore,
Barbara Tucker,
Youth Brigade,
the Soft Cell,
EPMD,
Scientists,
Andrew Ashong & Theo Parrish,
Thee Headcoats,
Lyres,
Max Romeo,
The Busters,
Popol Vuh,
Lou Christie,
Dead Boys,
The Moody Blues,
The Gories,
The Pop Group,
Reagan Youth,
June of 44, June of 44, June of 44, June of 44.
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.