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 Suriname and from Madrid.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Halifax 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Shadows of Knight to the punk 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 Peter and Kerry. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
Crash Course in Science,
Schoolly D,
Essential Logic,
The Standells,
The Black Dice,
Radiohead,
Quantec,
Ash Ra Tempel,
Ituana,
Lee Hazlewood,
The Index,
Angels of Light & Akron/Family,
Tropical Tobacco,
Neil Young,
Liliput,
Connie Case,
Crime,
Oblivians,
Kauko Röyhkä ja Narttu,
Roxette,
Lou Reed & Metallica,
Rites of Spring,
The Leaves,
Soul II Soul,
Röyhkä ja Rättö ja Lehtisalo,
The Doobie Brothers,
Freddie Wadling,
Wighnomy Brothers & Robag Wruhme,
Neil Young & Crazy Horse,
Nation of Ulysses,
The Flesh Eaters,
Bauhaus,
John Lydon,
Moby Grape,
The Men They Couldn't Hang,
Rhythm & Sound,
Althea and Donna,
Pharaoh Sanders and the Fire Engines,
Eli Mardock,
The Beau Brummels,
Surgeon,
New York Dolls,
Mission of Burma,
Pole,
Boz Scaggs,
The Wake,
The Music Machine,
Masters at Work,
Piero Umiliani,
X-101,
The Evens,
Kayak,
Kurtis Blow,
The Monochrome Set,
John Foxx,
Scratch Acid,
10cc,
Andrew Ashong & Theo Parrish,
Soft Cell,
Joyce Sims,
Sight & Sound,
Siglo XX,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.