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 Mongolia 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 1964 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Jakarta 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro 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 The Neon Judgement to the dance kids.
I played it at Cafe Wha.
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 Dawn Penn. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every MDC record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
The Fortunes,
Brick,
Lyres,
Circle Jerks,
The Detroit Cobras,
Vaughan Mason & Crew,
Royal Trux,
Groovy Waters,
One Last Wish,
Marmalade,
Barrington Levy,
Siouxsie and the Banshees,
Eurythmics,
Lucky Dragons,
Shuggie Otis,
Rhythm & Sound,
Man Parrish,
Black Pus,
Neil Young & Crazy Horse,
Joey Negro,
Cameo,
Bobby Byrd,
Fear,
Orchestral Manoeuvres in the Dark,
Adolescents,
Terry Callier,
Sun Ra,
The Human League,
Anthony Braxton,
Faust,
Franke,
Sight & Sound,
Half Japanese,
Brass Construction,
Anakelly,
The Moody Blues,
Darondo,
The Music Machine,
Amon Düül,
DJ Sneak,
Lebanon Hanover,
CMW,
KRS-One,
The Selecter,
A Flock of Seagulls,
New Order,
The Standells,
Mary Jane Girls,
The Black Dice,
The Fugs,
Notorious BIG live in Amsterdam,
the Bar-Kays,
The Happenings,
Delon & Dalcan,
The Doobie Brothers,
Jeff Lynne,
Aural Exciters,
The Walker Brothers,
Bob Dylan,
The Chocolate Watch Band,
The Blues Magoos,
Connie Case, Connie Case, Connie Case, Connie Case.
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.