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 Argentina and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Toronto and Toronto.
I'm losing my edge to the art-school Columbus 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 sitar 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 New Age Steppers to the electroclash kids.
I played it at the Roxy.
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 Yusef Lateef. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
The Pop Group,
Erasure,
The Electric Prunes,
The Count Five,
Curtis Mayfield,
The Seeds,
Hoover,
Parry Music,
The Leaves,
Dorothy Ashby,
Fort Wilson Riot,
Soulsonic Force,
a-ha,
Visage,
Archie Shepp,
The Chocolate Watch Band,
Make Up,
Tommy Roe,
Organ,
Gerry Rafferty,
Black Pus,
Aloha Tigers,
Byron Stingily,
Gong,
Kenny Larkin,
Deadbeat,
The Fugs,
Basic Channel,
Sam Rivers,
Agitation Free,
Eli Mardock,
Audionom,
Ronnie Foster,
Qualms,
Ultravox,
Fifty Foot Hose,
Malaria!,
Sunsets and Hearts,
Matthew Bourne,
Art Ensemble Of Chicago,
Man Parrish,
Rhythim Is Rhythim,
Alton Ellis,
Cecil Taylor,
Skaos,
Kings Of Tomorrow,
The Saints,
The Litter,
Negative Approach,
Silicon Teens,
Lower 48,
Roxy Music,
The Doors,
Hot Snakes,
ABC,
Sister Nancy,
Gary Puckett & The Union Gap,
Hashim,
Saccharine Trust,
Yellowson,
Babytalk, Babytalk, Babytalk, Babytalk.
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.