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 Oman and from Beijing.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Mexico City 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 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 Dead Boys to the grime kids.
I played it at the Astoria.
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 Robert Wyatt. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Ultravox,
Bootsy's Rubber Band,
Nation of Ulysses,
Roy Ayers,
Stereo Dub,
New York Dolls,
Little Man,
Unwound,
Hardrive,
Flash Fearless,
Roger Hodgson,
Pagans,
The Offenders,
Faust,
Roy Ayers Ubiquity,
Jimmy McGriff,
The Fire Engines,
Oppenheimer Analysis,
Bronski Beat,
Section 25,
John Cale,
Aswad,
The Busters,
Harry Pussy,
The Misunderstood,
Notorious BIG live in Amsterdam,
Thompson Twins,
The Gories,
Drive Like Jehu,
Al Stewart,
Ash Ra Tempel,
Röyhkä ja Rättö ja Lehtisalo,
The Doors,
Big Daddy Kane,
The New Christs,
Whodini,
Lafayette Afro Rock Band,
Tommy Roe,
Sexual Harrassment,
Jeff Mills,
Anakelly,
Crispian St. Peters,
Quadrant,
Ronan,
Roxy Music,
The Fall,
Neu!,
Dead Boys,
Essential Logic,
Eddi Front,
Ronnie Foster,
Pharaoh Sanders and the Fire Engines,
Siglo XX,
The Dead C,
Sad Lovers and Giants,
Banda Bassotti,
Johnny Osbourne,
Spandau Ballet,
Glambeats Corp.,
The Dave Clark Five,
Heaven 17,
Visage,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.