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 Russia and from Copenhagen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1971.
I'm losing my edge.
To all the kids in New York and Tokyo.
I'm losing my edge to the art-school Bremen 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 L. Decosne to the electroclash 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 Oblivians. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Kenny Larkin,
DeepChord presents Echospace,
Severed Heads,
Icehouse,
Gong,
Angry Samoans,
Cabaret Voltaire,
Accadde A,
KRS-One,
X-101,
Soulsonic Force,
Quantec,
Brand Nubian,
Michelle Simonal,
The Invisible,
Lower 48,
The Smiths,
Nick Fraelich,
Alphaville,
Josef K,
DNA,
Isaac Hayes,
Blake Baxter,
Zapp,
Wolf Eyes,
The Happenings,
Ultravox,
DJ Sneak,
JFA,
Second Layer,
Barry Ungar,
Joyce Sims,
Faraquet,
Radiopuhelimet,
Crooked Eye,
The Fortunes,
Deadbeat,
Clear Light,
Steve Hackett,
Schoolly D,
Gil Scott-Heron & Brian Jackson,
Andrew Ashong & Theo Parrish,
Pantytec,
Quadrant,
Gian Franco Pienzio,
Neil Young,
Nas,
Gang Starr,
Section 25,
Lalann,
ABBA,
Qualms,
Public Image Ltd.,
June of 44,
Q and Not U,
Pole,
The Flesh Eaters,
The Pop Group,
The Remains, The Remains, The Remains, The Remains.
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.