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 El Salvador and from Portland.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Tehran and Lyon.
I'm losing my edge to the art-school Cairo 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 808 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 Eve St. Jones to the punk kids.
I played it at the Roxy.
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 Roy Ayers Ubiquity. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Archie Shepp,
One Last Wish,
Godley & Creme,
Throbbing Gristle,
Eve St. Jones,
Dorothy Ashby,
Avey Tare's Slasher Flicks,
Mission of Burma,
This Heat,
Wolf Eyes,
The American Breed,
Röyhkä ja Rättö ja Lehtisalo,
Absolute Body Control,
Derrick May,
Pole,
Icehouse,
The Alarm Clocks,
K-Klass,
Pharaoh Sanders and the Fire Engines,
Popol Vuh,
Avey Tare & Kría Brekkan,
June Days,
Crime,
Model 500,
Quando Quango,
Sarah Menescal,
8 Eyed Spy,
Marcia Griffiths,
Eurythmics,
The Count Five,
The Sonics,
Siouxsie and the Banshees,
Connie Case,
Major Organ And The Adding Machine,
Jacques Brel,
The Vogues,
Whodini,
Nas,
U.S. Maple,
The Buckinghams,
Thinking Fellers Union Local 282,
The Slackers,
Delon & Dalcan,
Moby Grape,
Cecil Taylor,
Max Romeo,
The Men They Couldn't Hang,
Monks,
Slave,
Judy Mowatt,
The Cosmic Jokers,
Porter Ricks,
The Tremeloes,
Eyeless In Gaza,
Inner City,
Howard Jones,
Angels of Light & Akron/Family,
Bobbi Humphrey,
The Gun Club,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.