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 Seychelles and from Copenhagen.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Seoul and Edmonton.
I'm losing my edge to the art-school Tehran 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 at the first Suicide practice in a loft in New York.
I was working on the oboe 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 Eyeless In Gaza to the electroclash 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 Man Parrish. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
The Moleskins,
Mr. Review,
Sun Ra,
Amazonics,
Sugar Minott,
Alice Coltrane,
Shuggie Otis,
Cheater Slicks,
the Slits,
Sight & Sound,
Con Funk Shun,
This Heat,
Wire,
Josef K,
Depeche Mode,
Procol Harum,
Echo & the Bunnymen,
Kango’s Stein Massive,
Magma,
Icehouse,
ABC,
Junior Murvin,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Cabaret Voltaire,
Marcia Griffiths,
Selector Dub Narcotic,
Underground Resistance,
Fad Gadget,
Scion,
Roxy Music,
The Grass Roots,
Joe Finger,
Lebanon Hanover,
Aural Exciters,
Popol Vuh,
Chris & Cosey,
Ohio Players,
Kerri Chandler,
Lou Christie,
Ken Boothe,
Steve Hackett,
Pylon,
Dennis Brown,
Teenage Jesus and the Jerks,
R.M.O.,
The Sound,
Livin' Joy,
Khruangbin,
Röyhkä ja Rättö ja Lehtisalo,
Jeff Mills,
Soft Cell,
Suburban Knight,
Schoolly D,
The Doors,
Yellowson,
Traffic Nightmare,
Tres Demented,
Bob Dylan,
Ultra Naté,
Urselle,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.