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 Iran and from Sao Paulo.
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 1967 to 1978.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Delhi 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 snare 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 Tommy Roe to the jazz kids.
I played it at the Hacienda.
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 Crispy Ambulance. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Howard Jones 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Girls At Our Best!,
Scientists,
The Cure,
The Modern Lovers,
Faraquet,
La Düsseldorf,
The Cramps,
Lakeside,
Bauhaus,
Smog,
Kool Moe Dee,
The Chocolate Watch Band,
Infiniti,
The Associates,
Franke,
Mad Mike,
Maleditus Sound,
The Durutti Column,
Avey Tare's Slasher Flicks,
Angels of Light & Akron/Family,
Index,
The Raincoats,
the Soft Cell,
Basic Channel,
The Music Machine,
Trumans Water,
Nik Kershaw,
The Invisible,
Rotary Connection,
Lungfish,
Loose Ends,
the Swans,
Gabor Szabo,
Livin' Joy,
Hashim,
Vaughan Mason & Crew,
Captain Beefheart & His Magic Band,
The Wake,
DJ Sneak,
Alphaville,
The Zeros,
Oneida,
Oblivians,
Althea and Donna,
Lou Reed & John Cale,
Subhumans,
Babytalk,
The United States of America,
Adolescents,
Marmalade,
Icehouse,
Soul Sonic Force,
Andrew Ashong & Theo Parrish,
Lebanon Hanover,
Ralphi Rosario,
These Immortal Souls,
Stockholm Monsters,
Rhythm & Sound,
Excepter,
Glenn Branca,
Swans,
Sexual Harrassment,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.