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 Senegal and from Madrid.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Philadelphia 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 Soft Boys practice in a loft in Cambridge.
I was working on the organ 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 Lee Hazlewood 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 Alphaville. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Roy Ayers,
Unwound,
Basic Channel,
Camron Feat. Jay Z And Juelz,
Qualms,
Girls At Our Best!,
Bootsy Collins,
Kings Of Tomorrow,
The Music Machine,
Marine Girls,
Sam Rivers,
Althea and Donna,
Dark Day,
Bizarre Inc.,
Roger Hodgson,
Art Ensemble Of Chicago,
Kool G Rap & DJ Polo,
Procol Harum,
Sonic Youth,
Selector Dub Narcotic,
Thompson Twins,
Maurizio,
Franke,
Archie Shepp,
Amazonics,
Neil Young,
Johnny Clarke,
Outsiders,
James Chance & The Contortions,
The Names,
Brass Construction,
Lalann,
X-102,
The Index,
The Happenings,
Ultra Naté,
Iggy Pop,
Suicide,
Dave Gahan,
Rhythm & Sound,
Eurythmics,
Los Fastidios,
MDC,
Kenny Larkin,
Judy Mowatt,
Easy Going,
T. Rex,
Can,
Au Pairs,
the Bar-Kays,
Heavy D & The Boyz,
Bang on a Can All-Stars,
John Lydon,
The Alarm Clocks,
Adolescents,
X-Ray Spex,
Gong,
Little Man,
Brand Nubian,
Hardrive,
Wasted Youth,
Pantytec, Pantytec, Pantytec, Pantytec.
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.