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 Ivory Coast and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Manila and Sao Paulo.
I'm losing my edge to the art-school New York 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 808 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 PIL to the jazz kids.
I played it at the Troubador.
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 Nico. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Minnie Riperton 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord 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 güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
Mars,
DeepChord presents Echospace,
Underground Resistance,
Electric Light Orchestra,
the Germs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Skaos,
Jawbox,
Gary Puckett & The Union Gap,
Roy Ayers Ubiquity,
Avey Tare's Slasher Flicks,
Guru Guru,
Symarip,
Beasts of Bourbon,
Minor Threat,
Model 500,
Traffic Nightmare,
CMW,
The Buckinghams,
Oppenheimer Analysis,
Matthew Halsall,
The Cowsills,
Ultra Naté,
Ten City,
Adolescents,
Pulsallama,
Kings Of Tomorrow,
Ornette Coleman,
Accadde A,
Monks,
The Techniques,
Davy DMX,
Ituana,
Animal Collective,
Average White Band,
Swans,
The Cramps,
Country Joe & The Fish,
Intrusion,
Steve Hackett,
Red Lorry Yellow Lorry,
Ice-T,
Kauko Röyhkä ja Narttu,
Crispian St. Peters,
Qualms,
Gregory Isaacs,
Icehouse,
Quando Quango,
Interpol,
48th St. Collective,
The New Christs,
Banda Bassotti,
The Chocolate Watch Band,
Hot Snakes,
Altered Images,
June Days,
Parry Music,
Oblivians,
Freddie Wadling,
E-Dancer,
The Leaves,
Lou Reed & John Cale,
The Beau Brummels,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.