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 East Timor and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1974.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Taipei 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 Alison Limerick to the jazz 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 Throbbing Gristle. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Kayak,
Ultimate Spinach,
Joe Finger,
The Tremeloes,
The Men They Couldn't Hang,
Thee Headcoats,
Ronnie Foster,
Panda Bear,
Sugar Minott,
Oneida,
Boredoms,
Reuben Wilson,
Grandmaster Flash,
Camouflage,
Lebanon Hanover,
The Last Poets,
Crispian St. Peters,
Roxette,
Super Lover Cee & Casanova Rud,
Smog,
June of 44,
X-Ray Spex,
Visage,
Junior Murvin,
Mission of Burma,
Swell Maps,
Pharoah Sanders,
Skriet,
The Mummies,
Suicide,
The Dead C,
David Axelrod,
The Leaves,
Simply Red,
Pole,
Donny Hathaway,
Albert Ayler,
Bluetip,
Brick,
Brothers Johnson,
The Seeds,
Gichy Dan,
Glenn Branca,
Skaos,
DeepChord presents Echospace,
Rhythim Is Rhythim,
Ornette Coleman,
Echospace,
Urselle,
Adolescents,
cv313,
Parry Music,
Rahsaan Roland Kirk,
Q and Not U,
Sly & The Family Stone,
Inner City,
Girls At Our Best!,
Main Source,
These Immortal Souls,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.