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 Marshall Islands and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Manchester 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Nation of Ulysses to the crunk 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 The Kinks. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
The Birthday Party,
Warsaw,
Pylon,
John Cale,
Archie Shepp,
The Raincoats,
Toni Rubio,
Buzzcocks,
a-ha,
Wings,
The Fortunes,
The Detroit Cobras,
DJ Style,
Black Flag,
Easy Going,
PIL,
Wire,
Cheater Slicks,
The Real Kids,
Gil Scott-Heron & Brian Jackson,
Trumans Water,
Nik Kershaw,
Shoche,
Neil Young & Crazy Horse,
Chrome,
The Skatalites,
Mad Mike,
The United States of America,
The Associates,
It's A Beautiful Day,
Desert Stars,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tropical Tobacco,
Traffic Nightmare,
Glenn Branca,
Brass Construction,
Deepchord,
Lou Reed,
Bang On A Can,
Icehouse,
Livin' Joy,
Lafayette Afro Rock Band,
Country Teasers,
H. Thieme,
Tears for Fears,
T.S.O.L.,
The Move,
Eve St. Jones,
Mars,
James Chance & The Contortions,
Peter & Gordon,
Kerrie Biddell,
The Litter,
Negative Approach,
David McCallum,
Funkadelic,
Jandek,
Siouxsie and the Banshees,
Bobbi Humphrey,
Ten City,
Idris Muhammad,
Electric Light Orchestra,
The Doors, The Doors, The Doors, The Doors.
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.