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 Montenegro and from Mumbai.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Calgary and Spokane.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 Lakeside to the crunk kids.
I played it at CBGB's.
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 Eyeless In Gaza. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal dance 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Ponytail,
X-Ray Spex,
Major Organ And The Adding Machine,
Susan Cadogan,
World's Most,
Fela Kuti,
Eve St. Jones,
Fifty Foot Hose,
Electric Prunes,
Fad Gadget,
Scratch Acid,
Negative Approach,
Mission of Burma,
Marmalade,
Barbara Tucker,
The Moody Blues,
The Cramps,
Average White Band,
Darondo,
Gary Puckett & The Union Gap,
Ultimate Spinach,
Anakelly,
Smog,
Bobby Womack,
Niagra,
Bauhaus,
Mo-Dettes,
Quando Quango,
Severed Heads,
The New Christs,
Masters at Work,
The Pretty Things,
DJ Style,
Eric Dolphy,
Art Ensemble Of Chicago,
Radio Birdman,
Parry Music,
Soft Machine,
Motorama,
Stereo Dub,
Hasil Adkins,
Roxette,
Agitation Free,
Arab on Radar,
The Royal Family And The Poor,
Aaron Thompson,
the Soft Cell,
Boz Scaggs,
The Happenings,
Bobby Hutcherson,
Marc Romboy vs. Booka Shade,
Wings,
Interpol,
Bob Dylan,
Anthony Braxton,
Thee Headcoats,
Television Personalities,
Mad Mike,
Circle Jerks,
Big Daddy Kane,
Blossom Toes,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.