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 Croatia and from Lille.
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 1963 to 1975.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Toronto 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 Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Deutsch Amerikanische Freundschaft to the rock kids.
I played it at Trash.
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 Alarm Clocks. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every The Neon Judgement 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 '70s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Henry Cow,
Rod Modell,
MDC,
Louis and Bebe Barron,
The Residents,
The Offenders,
The Star Department,
Scan 7,
Minny Pops,
Chrome,
Blancmange,
Youth Brigade,
Sexual Harrassment,
8 Eyed Spy,
Al Stewart,
Bizarre Inc.,
Vaughan Mason & Crew,
Quantec,
The Seeds,
The Fortunes,
Pierre Henry,
Fugazi,
Kas Product,
Sandy B,
Black Bananas,
The Real Kids,
The Associates,
Connie Case,
Scrapy,
Nico,
AZ,
Lonnie Liston Smith,
Laurel Aitken,
Zero Boys,
Bill Wells,
Gang Green,
Chris Corsano,
Nirvana,
James White and The Blacks,
Todd Rundgren,
The Mojo Men,
Lou Reed,
The Red Krayola,
Radiohead,
Charles Mingus,
New York Dolls,
Swans,
Sister Nancy,
Model 500,
Masters at Work,
Danielle Patucci,
Sonic Youth,
Sam Rivers,
Wire,
Marc Romboy vs. Booka Shade,
KRS-One,
Au Pairs,
Second Layer,
The Black Dice,
Sound Behaviour,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.