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 Trinidad & Tobago and from Glasgow.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Beijing.
I'm losing my edge to the art-school Woodstock 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 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 Beau Brummels to the techno kids.
I played it at the Crocodile.
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 Monolake. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Peter and Kerry 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
K-Klass,
The Star Department,
The Dirtbombs,
Leonard Cohen,
Hashim,
Interpol,
Sight & Sound,
Sonny Sharrock,
Jeff Mills,
Erasure,
The J.B.'s,
Scion,
Kool Moe Dee,
Alphaville,
The Black Dice,
Public Image Ltd.,
Be Bop Deluxe,
the Swans,
Masters at Work,
Organ,
Porter Ricks,
Sound Behaviour,
Thee Headcoats,
Aural Exciters,
Juan Atkins,
Grauzone,
The Dead C,
Roxette,
Godley & Creme,
Vaughan Mason & Crew,
Blossom Toes,
Das Ding,
Intrusion,
Orchestral Manoeuvres in the Dark,
Excepter,
Monolake,
Goldenarms,
The Offenders,
Thinking Fellers Union Local 282,
The Litter,
Skarface,
Lebanon Hanover,
AZ,
Bootsy Collins,
Los Fastidios,
Symarip,
Royal Trux,
Suicide,
Big Daddy Kane,
Silicon Teens,
Au Pairs,
Grandmaster Flash,
Underground Resistance,
Lalo Schifrin,
Pylon,
Minny Pops,
Fatback Band,
Warsaw,
Khruangbin,
Warren Ellis,
Harry Pussy,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.