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 Algeria and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1979.
I'm losing my edge.
To all the kids in Accra and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 spring reverb 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 American Breed 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 Lee Hazlewood. All the underground hits.
All Slave tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music 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?
Theoretical Girls,
Wings,
Todd Rundgren,
The Chocolate Watch Band,
Make Up,
Soul II Soul,
The Invisible,
The Black Dice,
Tim Buckley,
The Red Krayola,
CMW,
Gian Franco Pienzio,
Groovy Waters,
Echo & the Bunnymen,
Althea and Donna,
De La Soul & Jungle Brothers,
Boogie Down Productions,
Agent Orange,
Das Ding,
Judy Mowatt,
Bill Wells,
Moebius,
Radiohead,
Duran Duran,
The Monochrome Set,
Ice-T,
Al Stewart,
Erasure,
La Düsseldorf,
Outsiders,
Scott Walker,
Jerry Gold Smith,
Joensuu 1685,
Archie Shepp,
The Last Poets,
Ohio Players,
Lightning Bolt,
Jesper Dahlback,
Severed Heads,
Barbara Tucker,
Unwound,
Derrick Morgan,
John Coltrane,
Fluxion,
Siglo XX,
Josef K,
The Martian,
The Kinks,
Max Romeo,
Bobby Byrd,
U.S. Maple,
Lucky Dragons,
Sarah Menescal,
Donny Hathaway,
The Fuzztones,
D'Angelo,
Intrusion,
Minor Threat,
Soft Machine,
Cluster,
The Modern Lovers,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.