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 Houston.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Tehran 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar 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 Bobby Sherman to the dance kids.
I played it at the Hacienda.
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 James Chance & The Contortions. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every The Kinks 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 '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Andrew Ashong & Theo Parrish,
Fifty Foot Hose,
It's A Beautiful Day,
Hasil Adkins,
Excepter,
Joe Finger,
Grandmaster Flash and the Furious Five,
Kevin Saunderson,
Aural Exciters,
Monolake,
The Associates,
Laurel Aitken,
Lindisfarne,
Jesper Dahlback,
Yusef Lateef,
Sam Rivers,
Marshall Jefferson,
The Fall,
Stiv Bators,
Interpol,
The Cramps,
T.S.O.L.,
The Move,
Neil Young,
Suburban Knight,
Marmalade,
Rhythm & Sound,
Robert Görl,
Sad Lovers and Giants,
Sight & Sound,
Zapp,
Don Cherry,
UT,
The Trojans,
Bob Dylan,
The Tremeloes,
Justin Hinds & The Dominoes,
Sound Behaviour,
The Knickerbockers,
Stereo Dub,
The Doobie Brothers,
Reuben Wilson,
Country Joe & The Fish,
Radiopuhelimet,
Angels of Light & Akron/Family,
Bill Near,
Sparks,
Main Source,
Lungfish,
Gil Scott Heron,
Clear Light,
Panda Bear,
John Holt,
Wings,
The West Coast Pop Art Experimental Band,
Bush Tetras,
Howard Jones,
Moebius,
The Cosmic Jokers,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.