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 Gabon and from Calgary.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Houston and Stockholm.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Mad Mike to the grime kids.
I played it at the 40 Watt.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Sun Ra Arkestra 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Joe Finger,
Alphaville,
Sound Behaviour,
Mo-Dettes,
Thee Headcoats,
The Five Americans,
The J.B.'s,
Crash Course in Science,
LL Cool J,
Siouxsie and the Banshees,
Roxy Music,
Marine Girls,
MC5,
Cameo,
Cabaret Voltaire,
The Fuzztones,
Matthew Halsall,
Jacques Brel,
The United States of America,
Kool Moe Dee,
Youth Brigade,
Angry Samoans,
Wally Richardson,
the Association,
cv313,
Altered Images,
Rufus Thomas,
Glambeats Corp.,
Peter and Kerry,
Faust,
The Fall,
Drive Like Jehu,
JFA,
Oppenheimer Analysis,
Barry Ungar,
Echo & the Bunnymen,
Super Lover Cee & Casanova Rud,
The Toasters,
Mantronix,
The American Breed,
Dave Gahan,
Dark Day,
Franke,
Bobby Hutcherson,
Gichy Dan,
Popol Vuh,
The Trojans,
Cal Tjader,
The Black Dice,
Ultramagnetic MC's,
The Fortunes,
Minutemen,
Terry Callier,
Derrick Morgan,
Ultimate Spinach,
Brand Nubian,
The New Christs,
Sister Nancy,
The Slits,
Al Stewart,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.