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 Turkmenistan and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Mexico City 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 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 Circle Jerks to the techno kids.
I played it at Trash.
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 Public Image Ltd.. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
The Martian,
Kayak,
Dark Day,
Jesper Dahlbäck,
Hasil Adkins,
The New Christs,
Kango’s Stein Massive,
Yusef Lateef,
Quantec,
Television,
Manfred Mann's Earth Band,
Sister Nancy,
Funky Four + One,
Heavy D & The Boyz,
Sunsets and Hearts,
The Royal Family And The Poor,
Youth Brigade,
a-ha,
The Kinks,
Frankie Knuckles,
the Slits,
John Holt,
Scratch Acid,
John Lydon,
Warren Ellis,
Bang On A Can,
New Age Steppers,
Flipper,
Bang on a Can All-Stars,
Yellowson,
Ornette Coleman,
Lou Reed,
Fat Boys,
Sandy B,
Cheater Slicks,
Patti Smith,
The Doobie Brothers,
Surgeon,
June of 44,
Red Lorry Yellow Lorry,
Dual Sessions,
Skarface,
Mo-Dettes,
Sad Lovers and Giants,
Jacques Brel,
Gabor Szabo,
David Axelrod,
Mission of Burma,
Deutsch Amerikanische Freundschaft,
Laurel Aitken,
Bill Wells,
AZ,
Electric Light Orchestra,
The Moody Blues,
Dead Boys,
Eurythmics,
Janne Schatter,
Boogie Down Productions,
Fluxion,
Moss Icon,
UT, UT, UT, UT.
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.