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 Angola and from New York.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
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 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron 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 The Smiths to the grime kids.
I played it at the Astoria.
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 Toni Rubio. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
The Red Krayola,
Stockholm Monsters,
Gastr Del Sol,
Henry Cow,
Severed Heads,
Ronnie Foster,
LL Cool J,
N.O.R.E. Featuring Pharrell,
Darondo,
Janne Schatter,
Interpol,
James Chance & The Contortions,
Traffic Nightmare,
Lindisfarne,
Hoover,
Popol Vuh,
Teenage Jesus and the Jerks,
Jacques Brel,
Sonic Youth,
Grey Daturas,
Ohio Players,
Television Personalities,
Japan,
Blancmange,
Thompson Twins,
Rotary Connection,
Avey Tare's Slasher Flicks,
Outsiders,
Ajijia Myrayebe,
Swans,
Terry Callier,
Flash Fearless,
Pole,
The Seeds,
Model 500,
The Martian,
Lightning Bolt,
Altered Images,
Sight & Sound,
Q65,
Fear,
Nation of Ulysses,
Sixth Finger,
Bobbi Humphrey,
Eli Mardock,
H. Thieme,
The Happenings,
Lou Reed & John Cale,
Porter Ricks,
Moby Grape,
Judy Mowatt,
Subhumans,
Wasted Youth,
Major Organ And The Adding Machine,
Skaos,
The Leaves,
Public Image Ltd.,
Desert Stars,
X-102,
Jawbox,
Todd Rundgren,
Sun City Girls,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.