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 Jamaica and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 snare 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 Scratch Acid to the jazz 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 Bad Manners. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
The Selecter,
Richard Hell and the Voidoids,
Fluxion,
Aaron Thompson,
Thompson Twins,
Darondo,
Nico,
Bobby Hutcherson,
Reagan Youth,
Althea and Donna,
Outsiders,
LL Cool J,
Young Marble Giants,
Laurel Aitken,
Boz Scaggs,
Roy Ayers Ubiquity,
Barbara Tucker,
Trumans Water,
Funkadelic,
The Knickerbockers,
Suburban Knight,
Organ,
James Chance & The Contortions,
Lower 48,
Gil Scott Heron,
Black Pus,
Black Moon,
Sparks,
Siouxsie and the Banshees,
Nils Olav,
The Blues Magoos,
Crooked Eye,
Japan,
Sister Nancy,
The Standells,
Sällskapet,
Kenny Larkin,
Kevin Saunderson,
Davy DMX,
Yusef Lateef,
Intrusion,
John Foxx,
Fear,
The Fall,
Ronnie Foster,
Terry Callier,
F. McDonald,
Amon Düül,
Oblivians,
Echo & the Bunnymen,
Louis and Bebe Barron,
Bob Dylan,
Nick Fraelich,
Wolf Eyes,
Be Bop Deluxe,
Goldenarms,
Faust,
Metal Thangz,
Theoretical Girls,
Dave Gahan,
Pylon,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.