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 South Africa and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television 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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school Houston 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 linndrum 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 John Lydon to the disco 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 Funky Four + One. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Ludus,
Albert Ayler,
Soulsonic Force,
The Music Machine,
Loose Ends,
Moss Icon,
Lou Reed & Metallica,
Supertramp,
L. Decosne,
The Blackbyrds,
John Foxx,
New York Dolls,
Ken Boothe,
Bronski Beat,
Arthur Verocai,
Captain Beefheart & His Magic Band,
Crispy Ambulance,
Country Joe & The Fish,
Faraquet,
The Sonics,
Young Marble Giants,
Dark Day,
The Martian,
Joe Smooth,
Scan 7,
Wasted Youth,
The Zeros,
Aloha Tigers,
Delon & Dalcan,
Kerri Chandler,
Grandmaster Flash and the Furious Five,
Minny Pops,
Scott Walker,
Funkadelic,
Fugazi,
Soft Cell,
The Birthday Party,
D'Angelo,
Super Lover Cee & Casanova Rud,
The Techniques,
Deepchord,
Spoonie Gee,
the Human League,
Roy Ayers,
Television Personalities,
Major Organ And The Adding Machine,
Q and Not U,
Gang Green,
Parry Music,
Quantec,
Chris Corsano,
Kerrie Biddell,
DNA,
Half Japanese,
Danielle Patucci,
Dead Boys,
Liaisons Dangereuses,
Kango’s Stein Massive,
The Mummies, The Mummies, The Mummies, The Mummies.
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.