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 Bolivia and from Tokyo.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Jakarta.
I'm losing my edge to the art-school Portland 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord 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 Dead Boys to the techno kids.
I played it at the Spitz.
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 Erasure. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Wings record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Arab on Radar,
Public Image Ltd.,
Moebius,
Bobbi Humphrey,
Technova,
Fifty Foot Hose,
Soft Cell,
Spandau Ballet,
Young Marble Giants,
Sticky Fingaz feat. Raekwon,
Roy Ayers Ubiquity,
Bobby Sherman,
The Tremeloes,
Second Layer,
Gichy Dan,
Ronnie Foster,
Lungfish,
Porter Ricks,
Delon & Dalcan,
Lonnie Liston Smith,
The Index,
Donny Hathaway,
The Birthday Party,
June of 44,
Lyres,
Rites of Spring,
Das Ding,
The American Breed,
Massinfluence,
Moby Grape,
Altered Images,
The Skatalites,
Desert Stars,
The West Coast Pop Art Experimental Band,
Joyce Sims,
Inner City,
Echo & the Bunnymen,
The Trojans,
Notorious BIG live in Amsterdam,
Minor Threat,
Idris Muhammad,
Ossler,
Flash Fearless,
Eddi Front,
Man Eating Sloth,
Wolf Eyes,
Gerry Rafferty,
Pantaleimon,
Yazoo,
It's A Beautiful Day,
The Seeds,
Duran Duran,
Mandrill,
Notorious Big And Bone Thugs,
Unrelated Segments,
Harry Pussy,
Loose Ends,
The Gories,
Fat Boys,
Crash Course in Science,
Kerri Chandler,
Michelle Simonal,
Al Stewart,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.