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 Latvia and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school Mexico City 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 rap 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 Althea and Donna. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Mo-Dettes,
Gregory Isaacs,
Freddie Wadling,
Lower 48,
Wighnomy Brothers & Robag Wruhme,
The Tremeloes,
Spoonie Gee,
Roger Hodgson,
Ponytail,
The Associates,
Deutsch Amerikanische Freundschaft,
Alison Limerick,
The Sound,
Tim Buckley,
Eli Mardock,
Beasts of Bourbon,
K-Klass,
Bill Wells,
Ten City,
D'Angelo,
John Lydon,
Rahsaan Roland Kirk,
Joey Negro,
John Cale,
Strawberry Alarm Clock,
The Blackbyrds,
Vainqueur,
Andrew Ashong & Theo Parrish,
Can,
Model 500,
Robert Wyatt,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
June of 44,
John Foxx,
Livin' Joy,
Royal Trux,
Whodini,
Neil Young & Crazy Horse,
Public Image Ltd.,
Kool G Rap & DJ Polo,
Franke,
Aural Exciters,
Pierre Henry,
Roy Ayers Ubiquity,
the Slits,
Stockholm Monsters,
The Human League,
Clear Light,
The Skatalites,
Barrington Levy,
The Barracudas,
Art Ensemble Of Chicago,
Max Romeo,
Hasil Adkins,
Robert Görl,
Loose Ends,
Gian Franco Pienzio,
Idris Muhammad,
Adolescents,
Louis and Bebe Barron,
48th St. Collective,
Marvin Gaye, Marvin Gaye, Marvin Gaye, Marvin Gaye.
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.