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 Iraq and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Taipei 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 Lou Reed 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 Ornette Coleman to the dance kids.
I played it at the Spitz.
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 The Chocolate Watch Band. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal grunge 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Bobby Sherman,
Ralphi Rosario,
Stetsasonic,
The Busters,
Strawberry Alarm Clock,
Darondo,
The Standells,
Porter Ricks,
Excepter,
Unwound,
Bauhaus,
Richard Hell and the Voidoids,
E-Dancer,
Terry Callier,
Jerry's Kids,
Scan 7,
Chrome,
Byron Stingily,
Juan Atkins,
Warsaw,
Aural Exciters,
The Move,
Tears for Fears,
The Moleskins,
The Peanut Butter Conspiracy,
Sad Lovers and Giants,
Jacob Miller,
Malaria!,
Crispy Ambulance,
Be Bop Deluxe,
Tropical Tobacco,
Eric Copeland,
PIL,
N.O.R.E. Featuring Pharrell,
Moss Icon,
Blossom Toes,
Maleditus Sound,
Roxy Music,
Magazine,
The Pop Group,
Lizzy Mercier Descloux,
Brick,
Todd Terry,
The Remains,
Peter and Kerry,
Subhumans,
Boogie Down Productions,
Hasil Adkins,
R.M.O.,
Blancmange,
The Kinks,
Skaos,
The Toasters,
Oppenheimer Analysis,
The Mojo Men,
JFA,
Talk Talk,
Lalann,
The Offenders,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.