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 Poland and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1973.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Lagos 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 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 United States of America to the electroclash kids.
I played it at the Troubador.
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 The Standells. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Dead Boys,
Graham Central Station,
Ajijia Myrayebe,
Fort Wilson Riot,
Isaac Hayes,
FM Einheit,
Rapeman,
Cal Tjader,
Procol Harum,
Trumans Water,
Boz Scaggs,
Be Bop Deluxe,
DeepChord presents Echospace,
Motorama,
AZ,
Faraquet,
Con Funk Shun,
Anthony Braxton,
Gerry Rafferty,
Eric Copeland,
Notorious Big And Bone Thugs,
Blake Baxter,
The Leaves,
Reuben Wilson,
Bluetip,
Parry Music,
The Cramps,
Unrelated Segments,
Nation of Ulysses,
Strawberry Alarm Clock,
Kaleidoscope,
Second Layer,
Soulsonic Force,
The Doobie Brothers,
U.S. Maple,
E-Dancer,
In Retrospect,
Hashim,
Skriet,
Skarface,
Piero Umiliani,
Theoretical Girls,
Qualms,
MDC,
Duran Duran,
Big Daddy Kane,
The Techniques,
The Skatalites,
Joy Division,
Ice-T,
John Holt,
The Flesh Eaters,
Lower 48,
Jacques Brel,
Eric Dolphy,
Justin Hinds & The Dominoes,
The Invisible,
LL Cool J,
Intrusion, Intrusion, Intrusion, Intrusion.
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.