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 Cape Verde and from Milan.
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 1963 to 1976.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Paris 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Red Krayola to the electroclash kids.
I played it at Trash.
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 Masters at Work. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
The Last Poets,
The Doors,
The Young Rascals,
MC5,
The Invisible,
Arab on Radar,
Terrestrial Tones,
Barclay James Harvest,
The Barracudas,
Faraquet,
The Sound,
Sixth Finger,
H. Thieme,
Scott Walker + Sunn O))),
Au Pairs,
Ronnie Foster,
Curtis Mayfield,
Heaven 17,
Kerri Chandler,
Bobby Sherman,
Sam Rivers,
Lyres,
Ultravox,
Flash Fearless,
Tropical Tobacco,
Fluxion,
Nirvana,
Danielle Patucci,
Gabor Szabo,
Rapeman,
The Index,
Brass Construction,
Alison Limerick,
Cecil Taylor,
The Grass Roots,
Television,
Albert Ayler,
Steve Hackett,
Terry Callier,
Roxette,
KRS-One,
The Velvet Underground,
Ken Boothe,
Todd Rundgren,
Sällskapet,
Excepter,
Khruangbin,
Avey Tare & Kría Brekkan,
Oneida,
Spoonie Gee,
The Cure,
Spandau Ballet,
Aural Exciters,
London Community Gospel Choir,
Lebanon Hanover,
the Germs,
Leonard Cohen,
The Blues Magoos,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.