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 Oman and from Spokane.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Paris 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 spring reverb 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 Tropical Tobacco to the techno kids.
I played it at the Hacienda.
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 Jeru the Damaja. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Quando Quango 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 '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Sonic Youth,
Bobby Hutcherson,
Scrapy,
Index,
The Music Machine,
Supertramp,
Fluxion,
Laurel Aitken,
AZ,
The Mummies,
The United States of America,
Electric Prunes,
The Pop Group,
Mantronix,
Groovy Waters,
Tom Boy,
Beasts of Bourbon,
Eric Copeland,
The Durutti Column,
Al Stewart,
Chrome,
Grandmaster Flash and the Furious Five,
Ken Boothe,
Sparks,
Robert Görl,
B.T. Express,
Crooked Eye,
Sun Ra,
Sight & Sound,
Kenny Larkin,
Gary Puckett & The Union Gap,
It's A Beautiful Day,
Teenage Jesus and the Jerks,
Rowland S Howard / Lydia Lunch,
Marshall Jefferson,
Jerry Gold Smith,
Crash Course in Science,
X-101,
Mr. Review,
Sound Behaviour,
Soft Cell,
Alphaville,
Grey Daturas,
Sun City Girls,
Lee Hazlewood,
Mad Mike,
Franke,
Japan,
Excepter,
Spandau Ballet,
Prince Buster,
Blossom Toes,
The Birthday Party,
Lafayette Afro Rock Band,
the Normal,
OOIOO,
The Associates,
Ultramagnetic MC's,
Goldenarms,
MC5,
Fort Wilson Riot,
Sun Ra Arkestra,
Surgeon,
Wings, Wings, Wings, Wings.
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.