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 Armenia and from Manila.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Lille and Portland.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Isaac Hayes to the electroclash kids.
I played it at the Crocodile.
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 Sixth Finger. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Icehouse 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Mo-Dettes,
Lungfish,
Ronan,
The Count Five,
Strawberry Alarm Clock,
Surgeon,
T. Rex,
The Misunderstood,
Joey Negro,
Simply Red,
Ronnie Foster,
The Shadows of Knight,
The Monochrome Set,
Fugazi,
Cecil Taylor,
H. Thieme,
Faraquet,
The Doobie Brothers,
Stetsasonic,
Gary Puckett & The Union Gap,
Alton Ellis,
Liliput,
Outsiders,
Electric Light Orchestra,
Deadbeat,
Wolf Eyes,
The Buckinghams,
Radiohead,
Flamin' Groovies,
Tom Boy,
Bauhaus,
Ultravox,
Notorious BIG live in Amsterdam,
Sex Pistols,
Shoche,
Blossom Toes,
The Modern Lovers,
Jeff Lynne,
Faust,
Ultra Naté,
Joyce Sims,
Scientists,
Eli Mardock,
The Dave Clark Five,
Eddi Front,
Unrelated Segments,
Alison Limerick,
These Immortal Souls,
Mission of Burma,
Can,
Rotary Connection,
The Selecter,
The Divine Comedy,
New Order,
Animal Collective,
Gang Starr,
The Blackbyrds,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.