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 Armenia and from Calgary.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Toronto and Johannesburg.
I'm losing my edge to the art-school Stockholm 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 snare 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 Fire Engines to the disco 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 Echo & the Bunnymen. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Johnny Clarke 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
the Association,
Thee Headcoats,
World's Most,
Slick Rick,
Arthur Verocai,
Tomorrow,
Kings Of Tomorrow,
The Fuzztones,
Harry Pussy,
Bill Wells,
Amon Düül,
Orchestral Manoeuvres in the Dark,
Model 500,
Quadrant,
Louis and Bebe Barron,
Joensuu 1685,
Reagan Youth,
Archie Shepp,
Gang Gang Dance,
Blancmange,
Saccharine Trust,
Spandau Ballet,
The Gories,
Jeru the Damaja,
The Five Americans,
Warsaw,
Scion,
MDC,
The Names,
Unrelated Segments,
Angry Samoans,
Audionom,
Camron Feat. Jay Z And Juelz,
Joy Division,
The Doobie Brothers,
Minor Threat,
The Remains,
The Cowsills,
Art Ensemble Of Chicago,
Siglo XX,
Scott Walker,
Lalo Schifrin,
Kauko Röyhkä ja Narttu,
The Skatalites,
The Pop Group,
A Certain Ratio,
The Stooges,
Tom Boy,
Marine Girls,
Flash Fearless,
Glambeats Corp.,
Stiv Bators,
Marmalade,
James White and The Blacks,
Notorious BIG live in Amsterdam,
Strawberry Alarm Clock,
Lou Reed & Metallica,
Rahsaan Roland Kirk,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.