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 Singapore and from Edmonton.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
I'm losing my edge to the art-school Beijing 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 chamberlin 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 Eli Mardock to the electroclash kids.
I played it at the Crocodile.
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 Groovy Waters. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal punk 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 a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
The Music Machine,
Suburban Knight,
Soul II Soul,
Juan Atkins,
Inner City,
Agent Orange,
Mark Hollis,
Boredoms,
The Remains,
U.S. Maple,
Eddi Front,
DJ Sneak,
Parry Music,
Susan Cadogan,
Minor Threat,
Silicon Teens,
Notorious Big And Bone Thugs,
Lou Reed & John Cale,
Excepter,
Hashim,
Liaisons Dangereuses,
Babytalk,
Rod Modell,
Bootsy's Rubber Band,
The Neon Judgement,
Davy DMX,
Jandek,
Josef K,
Rotary Connection,
Alphaville,
Howard Jones,
Steve Hackett,
X-101,
Selector Dub Narcotic,
Clear Light,
Los Fastidios,
Laurel Aitken,
Fad Gadget,
D'Angelo,
Main Source,
Index,
Junior Murvin,
Robert Görl,
Crash Course in Science,
Jeff Lynne,
ABC,
kango's stein massive,
Althea and Donna,
Radiopuhelimet,
The Real Kids,
Freddie Wadling,
Rhythm & Sound,
Quantec,
The Slits,
Andrew Hill,
Strawberry Alarm Clock,
Deepchord,
Lonnie Liston Smith,
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.