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 Thailand and from Jakarta.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Tehran and Delhi.
I'm losing my edge to the art-school Accra 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 James White and The Blacks to the rock kids.
I played it at the Astoria.
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 Danielle Patucci. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Angels of Light & Akron/Family record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Parry Music,
Blake Baxter,
Gabor Szabo,
Sad Lovers and Giants,
Kaleidoscope,
World's Most,
The Cosmic Jokers,
Massinfluence,
Wings,
Lou Reed & John Cale,
L. Decosne,
Zero Boys,
Chris Corsano,
Tim Buckley,
Swans,
Pere Ubu,
Vladislav Delay,
Colin Newman,
Loose Ends,
the Slits,
Sun Ra Arkestra,
Scratch Acid,
Kayak,
Joyce Sims,
Albert Ayler,
Al Stewart,
Smog,
Fat Boys,
Matthew Halsall,
Absolute Body Control,
Traffic Nightmare,
ABBA,
Leonard Cohen,
Icehouse,
Circle Jerks,
Severed Heads,
Nick Fraelich,
John Lydon,
The Blues Magoos,
The Sonics,
Sällskapet,
Erasure,
Accadde A,
Urselle,
Yusef Lateef,
Slave,
Animal Collective,
The Searchers,
Kool Moe Dee,
Stiv Bators,
The Evens,
Slick Rick,
Amazonics,
The Skatalites,
Mo-Dettes,
Lee Hazlewood,
New Age Steppers,
Cabaret Voltaire,
Jerry's Kids,
Marine Girls,
Crispy Ambulance,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.