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 Uzbekistan and from Philadelphia.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum 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 The Cramps to the punk kids.
I played it at CBGB's.
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 Quando Quango. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Gerry Rafferty 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Yazoo record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
James White and The Blacks,
The Names,
Severed Heads,
Juan Atkins,
Lalann,
Sight & Sound,
Sexual Harrassment,
Pantytec,
Motorama,
Basic Channel,
Heavy D & The Boyz,
Half Japanese,
The Gun Club,
The Velvet Underground,
X-102,
The Martian,
Rahsaan Roland Kirk,
Gong,
Agent Orange,
Girls At Our Best!,
Selector Dub Narcotic,
Sex Pistols,
Royal Trux,
The Evens,
Oneida,
Crime,
The Durutti Column,
Jeru the Damaja,
Parry Music,
New York Dolls,
Quantec,
MC5,
London Community Gospel Choir,
The Divine Comedy,
Man Parrish,
Piero Umiliani,
Terry Callier,
The Index,
Boogie Down Productions,
Roy Ayers,
Alison Limerick,
The Men They Couldn't Hang,
Ice-T,
Dual Sessions,
Laurel Aitken,
Scan 7,
Amazonics,
Eyeless In Gaza,
Nirvana,
Make Up,
kango's stein massive,
Eli Mardock,
Orchestral Manoeuvres in the Dark,
Echo & the Bunnymen,
Black Bananas,
Jeff Lynne,
Marmalade,
Little Man,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.