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 El Salvador and from Paris.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Slave to the dance kids.
I played it at the Astoria.
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 Grandmaster Flash. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
the Slits,
Derrick May,
The West Coast Pop Art Experimental Band,
Kenny Larkin,
The United States of America,
Jacques Brel,
Accadde A,
Bobby Sherman,
Fatback Band,
Red Lorry Yellow Lorry,
Buzzcocks,
The Fortunes,
The Victims,
Roy Ayers Ubiquity,
Susan Cadogan,
Essential Logic,
Minny Pops,
Tom Boy,
The Alarm Clocks,
Scott Walker + Sunn O))),
Stockholm Monsters,
Matthew Bourne,
A Certain Ratio,
Lower 48,
the Normal,
B.T. Express,
Teenage Jesus and the Jerks,
Zapp,
The Flesh Eaters,
DJ Sneak,
Lizzy Mercier Descloux,
June of 44,
Dark Day,
The Count Five,
the Bar-Kays,
The Jesus and Mary Chain,
Cabaret Voltaire,
Fifty Foot Hose,
Robert Görl,
Dead Boys,
In Retrospect,
Flamin' Groovies,
Procol Harum,
Ken Boothe,
Can,
Simply Red,
The Blackbyrds,
Maurizio,
The Index,
The Royal Family And The Poor,
Gang of Four,
The Residents,
Trumans Water,
Soulsonic Force,
Matthew Halsall,
Joensuu 1685,
The Smiths,
Camron Feat. Memphis Bleek And Beenie Seigel,
Clear Light,
Jeru the Damaja,
The Evens,
Lalo Schifrin, Lalo Schifrin, Lalo Schifrin, Lalo Schifrin.
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.