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 Kiribati and from Seoul.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Manchester.
I'm losing my edge to the art-school Milan 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer 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 Can to the disco kids.
I played it at the Hacienda.
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 Lalann. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Oblivians,
Bizarre Inc.,
Hashim,
Anakelly,
Wings,
The Monochrome Set,
Throbbing Gristle,
Q65,
Peter & Gordon,
Mary Jane Girls,
Crash Course in Science,
Brass Construction,
JFA,
Basic Channel,
Pete Rock & C.L. Smooth,
John Holt,
Chris Corsano,
Bill Wells,
Icehouse,
48th St. Collective,
Johnny Clarke,
Marvin Gaye,
The Leaves,
Desert Stars,
Stockholm Monsters,
Alphaville,
Gang Green,
The Music Machine,
Gang Gang Dance,
the Slits,
Sixth Finger,
The Gun Club,
Tomorrow,
Bobby Womack,
Sonny Sharrock,
The Move,
the Soft Cell,
Traffic Nightmare,
Pet Shop Boys,
The Peanut Butter Conspiracy,
Jawbox,
Peter and Kerry,
The Smiths,
Camron Feat. Memphis Bleek And Beenie Seigel,
Section 25,
Schoolly D,
The Raincoats,
Isaac Hayes,
The Pretty Things,
John Cale,
Amazonics,
Bluetip,
the Normal,
Fear,
The Fire Engines,
Pere Ubu,
Thinking Fellers Union Local 282,
Aural Exciters,
James Chance & The Contortions,
The Doobie Brothers,
Silicon Teens,
Barbara Tucker,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.