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 Jordan and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Accra.
I'm losing my edge to the art-school Winnipeg 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 Soft Boys practice in a loft in Cambridge.
I was working on the clarinet 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 Be Bop Deluxe 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 Rod Modell. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Organ record on German import.
I heard that you have a white label of every seminal techno 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Kas Product,
Warsaw,
Boogie Down Productions,
Sixth Finger,
Amon Düül II,
Bobby Sherman,
Smog,
Flash Fearless,
A Flock of Seagulls,
R.M.O.,
Quadrant,
Cabaret Voltaire,
Robert Wyatt,
Max Romeo,
Junior Murvin,
The Golliwogs,
One Last Wish,
Anakelly,
Neu!,
Dawn Penn,
Carl Craig,
Deutsch Amerikanische Freundschaft,
Howard Jones,
David Bowie,
The Standells,
Country Teasers,
Electric Light Orchestra,
Swell Maps,
Yusef Lateef,
Japan,
The Dave Clark Five,
The Flesh Eaters,
Y Pants,
Crooked Eye,
Sun City Girls,
The Litter,
Roxy Music,
Ohio Players,
The Slackers,
The Residents,
Swans,
Lucky Dragons,
U.S. Maple,
Mr. Review,
Lower 48,
Scientists,
Captain Beefheart & His Magic Band,
Bang on a Can All-Stars,
Adolescents,
Lee Hazlewood,
Albert Ayler,
Ituana,
Supertramp,
Groovy Waters,
Sandy B,
Nation of Ulysses,
Gary Puckett & The Union Gap,
Kaleidoscope,
Camberwell Now,
Yazoo,
Glenn Branca,
Black Pus, Black Pus, Black Pus, Black Pus.
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.