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 Congo and from Philadelphia.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Calgary 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the theremin 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 Modern Lovers to the jazz kids.
I played it at the Troubador.
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 Mr. Review. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Erykah Badu,
The Fall,
Yaz,
Leonard Cohen,
Sister Nancy,
Ultimate Spinach,
Zapp,
Gian Franco Pienzio,
Bobby Womack,
John Holt,
Aswad,
Beasts of Bourbon,
The United States of America,
Joe Finger,
Big Daddy Kane,
The Smiths,
Crash Course in Science,
Loose Ends,
Sun Ra Arkestra,
Gang of Four,
Bronski Beat,
The Cosmic Jokers,
the Swans,
Lucky Dragons,
The Slits,
Aural Exciters,
The Standells,
Thinking Fellers Union Local 282,
Thompson Twins,
48th St. Collective,
Robert Hood,
Frankie Knuckles,
Ultra Naté,
Al Stewart,
Eve St. Jones,
Sandy B,
James Chance & The Contortions,
Joey Negro,
Technova,
Jeff Mills,
Camberwell Now,
Hardrive,
The Modern Lovers,
Bad Manners,
The Barracudas,
The Star Department,
Gichy Dan,
Jawbox,
the Association,
Motorama,
PIL,
New Age Steppers,
Sex Pistols,
Isaac Hayes,
Cybotron,
Lebanon Hanover,
The Grass Roots,
Tom Boy,
Massinfluence,
Dark Day,
Eden Ahbez,
Metal Thangz,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.