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 Saudi Arabia and from Stockholm.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Cairo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer 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 Bizarre Inc. to the electroclash kids.
I played it at the Spitz.
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 Stereo Dub. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every The Smoke 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Glambeats Corp.,
The Fire Engines,
Archie Shepp,
10cc,
Bobby Womack,
Scion,
In Retrospect,
Scrapy,
Vladislav Delay,
Joe Finger,
The Star Department,
La Düsseldorf,
Ludus,
The Beau Brummels,
Kings Of Tomorrow,
Derrick May,
KRS-One,
Main Source,
Sam Rivers,
Suburban Knight,
Brothers Johnson,
Traffic Nightmare,
Joe Smooth,
Larry & the Blue Notes,
Röyhkä ja Rättö ja Lehtisalo,
Duran Duran,
June Days,
The Music Machine,
Easy Going,
Simply Red,
The Sound,
Terry Callier,
The Skatalites,
Stetsasonic,
Justin Hinds & The Dominoes,
Lou Christie,
June of 44,
Delon & Dalcan,
Marvin Gaye,
Lakeside,
Mo-Dettes,
One Last Wish,
Inner City,
Barbara Tucker,
Stockholm Monsters,
Harmonia,
Teenage Jesus and the Jerks,
Nico,
Cymande,
Bob Dylan,
Bush Tetras,
Pete Rock & C.L. Smooth,
It's A Beautiful Day,
Richard Hell and the Voidoids,
The Jesus and Mary Chain,
Y Pants,
The Electric Prunes,
Ice-T,
Nation of Ulysses,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.