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 Iceland and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1974.
I'm losing my edge.
To all the kids in Beijing and Tehran.
I'm losing my edge to the art-school Winnipeg 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 organ 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 The Index to the disco 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 Graham Central Station. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Piero Umiliani 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Ohio Players,
B.T. Express,
Royal Trux,
Lucky Dragons,
Black Pus,
Toni Rubio,
The Dirtbombs,
Mary Jane Girls,
Cecil Taylor,
Fatback Band,
Gian Franco Pienzio,
The Motions,
Lalann,
Wire,
The Gun Club,
The Buckinghams,
Bill Wells,
48th St. Collective,
OOIOO,
Joe Smooth,
Laurel Aitken,
Ten City,
Liaisons Dangereuses,
Moby Grape,
Neil Young & Crazy Horse,
Eric Copeland,
Mad Mike,
Lafayette Afro Rock Band,
Anakelly,
Alton Ellis,
The Cosmic Jokers,
Captain Beefheart & His Magic Band,
Minor Threat,
Lou Reed & John Cale,
The Associates,
T.S.O.L.,
Jimmy McGriff,
The Index,
Eddi Front,
The Shadows of Knight,
Lou Reed & Metallica,
JFA,
Nils Olav,
Country Teasers,
Bang On A Can,
Swell Maps,
Eli Mardock,
Don Cherry,
Faraquet,
Crash Course in Science,
Freddie Wadling,
Porter Ricks,
The American Breed,
Oneida,
The Music Machine,
Stockholm Monsters,
Derrick Morgan,
Alison Limerick,
the Soft Cell,
Pulsallama,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.