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 Indonesia and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Seoul.
I'm losing my edge to the art-school Johannesburg 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 The Motions to the dance 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 The Men They Couldn't Hang. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sällskapet record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Franke,
Glenn Branca,
Bang On A Can,
Arthur Verocai,
Spoonie Gee,
June Days,
Alice Coltrane,
Tom Boy,
Matthew Halsall,
Rotary Connection,
Orchestral Manoeuvres in the Dark,
Gang Starr,
The Skatalites,
Robert Hood,
AZ,
Pussy Galore,
The Vogues,
Kango’s Stein Massive,
Eve St. Jones,
Kool G Rap & DJ Polo,
Curtis Mayfield,
Agitation Free,
Roxy Music,
Gerry Rafferty,
Sad Lovers and Giants,
Parry Music,
The Sonics,
Kerri Chandler,
Ten City,
Sex Pistols,
Jerry Gold Smith,
Rhythm & Sound,
the Association,
Jesper Dahlback,
Organ,
Sun City Girls,
Joensuu 1685,
kango's stein massive,
Fear,
Underground Resistance,
Girls At Our Best!,
Pylon,
The Leaves,
E-Dancer,
Fatback Band,
Todd Terry,
Lebanon Hanover,
Rapeman,
Kauko Röyhkä ja Narttu,
Joyce Sims,
Brass Construction,
Marshall Jefferson,
Funky Four + One,
Magma,
The Gories,
Eurythmics,
R.M.O.,
Danielle Patucci,
Visage,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.