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 Egypt and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1977.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Winnipeg 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 spring reverb 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 The Smiths to the jazz kids.
I played it at Trash.
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 The Count Five. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Toni Rubio,
Super Lover Cee & Casanova Rud,
Lou Reed,
the Human League,
Reuben Wilson,
The Standells,
Ponytail,
Grauzone,
Scott Walker,
Joe Smooth,
Alice Coltrane,
Trumans Water,
The Misunderstood,
Fugazi,
Supertramp,
The Buckinghams,
Derrick Morgan,
Mark Hollis,
Hasil Adkins,
Roger Hodgson,
The Velvet Underground,
The Young Rascals,
Tears for Fears,
Swans,
The Men They Couldn't Hang,
the Bar-Kays,
Bill Near,
The Mighty Diamonds,
Chris Corsano,
The Toasters,
Pharaoh Sanders and the Fire Engines,
World's Most,
Yellowson,
The American Breed,
David Axelrod,
Bizarre Inc.,
The Vogues,
Thee Headcoats,
The Martian,
MC5,
The Five Americans,
Rites of Spring,
Ludus,
The Birthday Party,
Nick Cave & The Bad Seeds,
Arthur Verocai,
Oppenheimer Analysis,
Electric Prunes,
Slave,
Heavy D & The Boyz,
Nils Olav,
Mo-Dettes,
Lyres,
Scratch Acid,
Hoover,
Scrapy,
Graham Central Station,
David McCallum,
Archie Shepp,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.