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 United States and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Mumbai.
I'm losing my edge to the art-school London 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Camron Feat. Memphis Bleek And Beenie Seigel to the rock 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 LL Cool J. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Louis and Bebe Barron,
The Names,
the Human League,
Bobby Sherman,
Lakeside,
Cabaret Voltaire,
Sad Lovers and Giants,
Lizzy Mercier Descloux,
the Slits,
Skarface,
The Red Krayola,
Charles Mingus,
Soft Machine,
Mars,
LL Cool J,
Peter & Gordon,
Jandek,
Faraquet,
Eve St. Jones,
Tom Boy,
Black Bananas,
Marcia Griffiths,
The Jesus and Mary Chain,
Stereo Dub,
The United States of America,
Alphaville,
Radio Birdman,
Kayak,
Suburban Knight,
Thee Headcoats,
Lebanon Hanover,
Fluxion,
the Soft Cell,
Orchestral Manoeuvres in the Dark,
Max Romeo,
Barbara Tucker,
The American Breed,
Major Organ And The Adding Machine,
Brothers Johnson,
Hardrive,
Thompson Twins,
Eden Ahbez,
La Düsseldorf,
Connie Case,
Eric B and Rakim,
Jawbox,
Mission of Burma,
Al Stewart,
Avey Tare's Slasher Flicks,
Chrome,
Neil Young,
Mr. Review,
Barry Ungar,
Ituana,
Gary Puckett & The Union Gap,
Gang Gang Dance,
Pharoah Sanders,
Popol Vuh,
John Coltrane,
Rakim,
The Moody Blues,
Jacques Brel,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.