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 Qatar and from Woodstock.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator 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 funk kids.
I played it at CBGB's.
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 Mantronix. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Ronan,
The Cramps,
Black Pus,
Rakim,
The Techniques,
Flamin' Groovies,
K-Klass,
Jacques Brel,
The Busters,
Robert Hood,
Richard Hell and the Voidoids,
Circle Jerks,
MC5,
Sparks,
Lebanon Hanover,
Animal Collective,
Masters at Work,
Mr. Review,
Man Eating Sloth,
Michelle Simonal,
Roxette,
Surgeon,
Talk Talk,
Radio Birdman,
Bauhaus,
Underground Resistance,
Grandmaster Flash and the Furious Five,
Pharaoh Sanders and the Fire Engines,
Glenn Branca,
Scott Walker + Sunn O))),
James White and The Blacks,
Youth Brigade,
Parry Music,
CMW,
The Star Department,
Ultramagnetic MC's,
Royal Trux,
The Misunderstood,
Fear,
Jeru the Damaja,
Soulsonic Force,
Cameo,
Marcia Griffiths,
Babytalk,
Steve Hackett,
Interpol,
The Chocolate Watch Band,
Gichy Dan,
John Holt,
Yazoo,
Public Image Ltd.,
Simply Red,
The Knickerbockers,
Wasted Youth,
Skriet,
Kenny Larkin,
Rites of Spring,
Jawbox,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.