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 Bhutan and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 Doobie Brothers to the grime 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 Duran Duran. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Country Teasers record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Gang of Four,
Pete Rock & C.L. Smooth,
Rowland S Howard / Lydia Lunch,
Country Joe & The Fish,
Sparks,
Lonnie Liston Smith,
Aaron Thompson,
The Modern Lovers,
The Move,
Japan,
The Buckinghams,
The Fortunes,
Barry Ungar,
Icehouse,
Notorious BIG live in Amsterdam,
Röyhkä ja Rättö ja Lehtisalo,
Blake Baxter,
Tres Demented,
Tim Buckley,
Eric Copeland,
Pere Ubu,
Minnie Riperton,
Zapp,
Nas,
Deakin,
The New Christs,
Agent Orange,
Crispian St. Peters,
Ten City,
Sun City Girls,
Blossom Toes,
Leonard Cohen,
Bronski Beat,
Howard Jones,
Gary Puckett & The Union Gap,
Soul Sonic Force,
Scott Walker,
New Order,
Vladislav Delay,
Joensuu 1685,
Das Ding,
Lightning Bolt,
Piero Umiliani,
Bad Manners,
The Martian,
Camberwell Now,
Marine Girls,
Sonic Youth,
The Misunderstood,
Black Moon,
Black Sheep,
LL Cool J,
The Human League,
The Index,
Alton Ellis,
Visage,
Bill Wells,
The Slackers,
Altered Images,
The Stooges,
Ash Ra Tempel,
Parry Music, Parry Music, Parry Music, Parry Music.
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.