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 Swaziland and from Tehran.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 güiro sounds with much patience.
I was there when Holger Czukay 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 The Offenders to the rap kids.
I played it at the Astoria.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Trumans Water,
the Association,
DeepChord presents Echospace,
The American Breed,
Minor Threat,
Lightning Bolt,
The Gun Club,
Neu!,
Robert Hood,
Siouxsie and the Banshees,
Soft Cell,
the Swans,
Juan Atkins,
The Gladiators,
Barclay James Harvest,
Jeff Mills,
Deadbeat,
X-101,
Mission of Burma,
Mr. Review,
China Crisis,
T.S.O.L.,
Pharaoh Sanders and the Fire Engines,
Ituana,
Ponytail,
Surgeon,
Tom Boy,
the Germs,
Röyhkä ja Rättö ja Lehtisalo,
The Invisible,
Fear,
Yazoo,
Country Joe & The Fish,
Bad Manners,
A Certain Ratio,
Model 500,
The Standells,
Terry Callier,
Alison Limerick,
Anakelly,
DNA,
F. McDonald,
Bootsy Collins,
Severed Heads,
Avey Tare & Kría Brekkan,
Sixth Finger,
Dave Gahan,
Bob Dylan,
Duran Duran,
Agitation Free,
Electric Prunes,
Japan,
Nick Fraelich,
Gang Green,
Lower 48,
Vaughan Mason & Crew,
Bauhaus,
John Coltrane,
Parry Music,
Kenny Larkin,
Lindisfarne,
The Smoke,
Adolescents, Adolescents, Adolescents, Adolescents.
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.