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 Burundi and from New York.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school Houston 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 MC5 to the disco 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 John Holt. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Tears for Fears 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Model 500,
Black Pus,
Blancmange,
a-ha,
Animal Collective,
Scan 7,
Das Ding,
Massinfluence,
Thompson Twins,
Dorothy Ashby,
Moss Icon,
Wighnomy Brothers & Robag Wruhme,
Bill Near,
Ultramagnetic MC's,
R.M.O.,
Man Parrish,
Monks,
The Real Kids,
Ludus,
Sight & Sound,
Alice Coltrane,
Quadrant,
Man Eating Sloth,
Sister Nancy,
World's Most,
China Crisis,
Howard Jones,
Hoover,
Oppenheimer Analysis,
Echospace,
Radiopuhelimet,
The Evens,
Absolute Body Control,
Mr. Review,
the Soft Cell,
Country Joe & The Fish,
Maurizio,
Terrestrial Tones,
H. Thieme,
Bizarre Inc.,
Spandau Ballet,
Rowland S Howard / Lydia Lunch,
The Blackbyrds,
Gang of Four,
Steve Hackett,
Bobbi Humphrey,
Lakeside,
DJ Style,
Warren Ellis,
Mars,
The Trojans,
K-Klass,
Wasted Youth,
Sarah Menescal,
Loose Ends,
Roxy Music,
Connie Case,
Rotary Connection,
Schoolly D,
Flash Fearless,
T.S.O.L.,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.