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 Belize and from Milan.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Tehran 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 arpeggiator 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 Ronnie Foster to the rock kids.
I played it at Cafe Wha.
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 Mr. Review. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '90s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
MDC,
The Grass Roots,
The Tremeloes,
Symarip,
Jeru the Damaja,
cv313,
Delon & Dalcan,
Swell Maps,
John Lydon,
Adolescents,
The Associates,
Rakim,
Half Japanese,
Talk Talk,
Young Marble Giants,
Von Mondo,
Faust,
Deakin,
Graham Central Station,
Patti Smith,
Dawn Penn,
Hot Snakes,
Unwound,
Scratch Acid,
Wire,
Heavy D & The Boyz,
Chrome,
Bill Near,
Pete Rock & C.L. Smooth,
D'Angelo,
Monolake,
Sonny Sharrock,
Orchestral Manoeuvres in the Dark,
Average White Band,
Camouflage,
Yellowson,
Anthony Braxton,
DNA,
The Standells,
Ultimate Spinach,
Theoretical Girls,
The United States of America,
Gabor Szabo,
The Selecter,
Saccharine Trust,
Grey Daturas,
World's Most,
Davy DMX,
Scott Walker,
Joyce Sims,
The Gun Club,
Hashim,
Janne Schatter,
Alison Limerick,
Essential Logic,
Zapp,
Nirvana,
Oppenheimer Analysis,
Electric Prunes,
Public Enemy,
Notorious Big And Bone Thugs,
Niagra,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.