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 Rwanda and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Delhi.
I'm losing my edge to the art-school Glasgow 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Camouflage to the dance 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 London Community Gospel Choir. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Super Lover Cee & Casanova Rud,
Radiopuhelimet,
Circle Jerks,
Piero Umiliani,
Nils Olav,
the Human League,
Intrusion,
The Black Dice,
Stiv Bators,
Robert Görl,
Accadde A,
Patti Smith,
One Last Wish,
David Axelrod,
Richard Hell and the Voidoids,
Severed Heads,
Loose Ends,
Avey Tare,
Avey Tare's Slasher Flicks,
Black Bananas,
The Modern Lovers,
Glambeats Corp.,
Bill Near,
a-ha,
The Mighty Diamonds,
The Searchers,
These Immortal Souls,
James Chance & The Contortions,
Organ,
Livin' Joy,
Unwound,
Boogie Down Productions,
The Jesus and Mary Chain,
Letta Mbulu,
Arab on Radar,
Suburban Knight,
James White and The Blacks,
Scientists,
June of 44,
The Seeds,
Davy DMX,
Oppenheimer Analysis,
DJ Sneak,
Harmonia,
Amazonics,
Roger Hodgson,
U.S. Maple,
The United States of America,
Lower 48,
Deutsch Amerikanische Freundschaft,
Sarah Menescal,
Ultimate Spinach,
The Gories,
Grandmaster Flash,
Sight & Sound,
Connie Case,
Sparks,
Ralphi Rosario,
Skriet,
Monolake,
Gerry Rafferty,
Zapp,
Crime, Crime, Crime, Crime.
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.