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 Poland and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Philadelphia 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 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 Sugar Minott to the disco kids.
I played it at Cafe Wha.
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 Unrelated Segments. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a DeepChord presents Echospace record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Deadbeat,
The Jesus and Mary Chain,
DJ Style,
Wolf Eyes,
New Age Steppers,
H. Thieme,
Eve St. Jones,
Hot Snakes,
Jeru the Damaja,
Siouxsie and the Banshees,
Masters at Work,
Pet Shop Boys,
Main Source,
Mark Hollis,
CMW,
Popol Vuh,
Peter & Gordon,
Lonnie Liston Smith,
Red Lorry Yellow Lorry,
Skaos,
Lalo Schifrin,
Wasted Youth,
Crispy Ambulance,
Pharoah Sanders,
The Index,
The Moody Blues,
Ultra Naté,
Rhythm & Sound,
Minny Pops,
Mr. Review,
Albert Ayler,
Skriet,
Flipper,
Cameo,
Gerry Rafferty,
Lee Hazlewood,
The Modern Lovers,
Lou Reed,
Gian Franco Pienzio,
John Cale,
B.T. Express,
The Walker Brothers,
Au Pairs,
Gastr Del Sol,
Bill Wells,
Rotary Connection,
The Alarm Clocks,
The Dead C,
Tomorrow,
Roxy Music,
Lindisfarne,
Duran Duran,
Wire,
Boz Scaggs,
The Fuzztones,
Althea and Donna,
Junior Murvin,
Dave Gahan,
Bush Tetras,
Toni Rubio,
Kurtis Blow,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.