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 Bolivia and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television 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 1969 to 1970.
I'm losing my edge.
To all the kids in New York and Toronto.
I'm losing my edge to the art-school New York 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 synthesizer 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 Red Lorry Yellow Lorry to the disco 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 Stockholm Monsters. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Mr. Review 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
The Fortunes,
Lalann,
Aswad,
Rites of Spring,
John Holt,
Nick Cave & The Bad Seeds,
Bizarre Inc.,
Lou Reed & Metallica,
Jerry Gold Smith,
Sex Pistols,
Bush Tetras,
Beasts of Bourbon,
Neil Young,
The Busters,
Donald Byrd,
David McCallum,
Stockholm Monsters,
David Axelrod,
Deakin,
Kerri Chandler,
Technova,
Malaria!,
Rapeman,
Freddie Wadling,
Ken Boothe,
Robert Görl,
Country Joe & The Fish,
Bad Manners,
The Remains,
Easy Going,
Alice Coltrane,
Camberwell Now,
The Sound,
Brick,
Thompson Twins,
Joyce Sims,
Patti Smith,
Deutsch Amerikanische Freundschaft,
Sunsets and Hearts,
Deadbeat,
The Searchers,
Erasure,
Tears for Fears,
Stiv Bators,
Peter and Kerry,
The Monochrome Set,
Pantytec,
Con Funk Shun,
Kool G Rap & DJ Polo,
The Victims,
Lyres,
Jeff Mills,
The Red Krayola,
Lee Hazlewood,
The Fall,
Cluster,
DNA,
The New Christs,
Arcadia,
Gian Franco Pienzio,
X-101,
The Invisible, The Invisible, The Invisible, The Invisible.
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.