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 Malaysia and from Edmonton.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Houston and Edmonton.
I'm losing my edge to the art-school Spokane 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 organ sounds with much patience.
I was there when Michael McDonald 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 Beasts of Bourbon to the electroclash 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 Marc Romboy vs. Booka Shade. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Chris & Cosey 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 '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Drive Like Jehu,
The Angels of Light,
Moby Grape,
The Fuzztones,
Pole,
U.S. Maple,
Davy DMX,
The Seeds,
K-Klass,
Dennis Brown,
Ronan,
ABBA,
Tim Buckley,
8 Eyed Spy,
Minutemen,
Bobby Womack,
Siglo XX,
Pussy Galore,
The Count Five,
Smog,
Bill Near,
Major Organ And The Adding Machine,
Gil Scott-Heron and Jamie xx,
Tubeway Army,
the Soft Cell,
Tomorrow,
Urselle,
The West Coast Pop Art Experimental Band,
Eli Mardock,
Dave Gahan,
Adolescents,
Little Man,
Altered Images,
Guru Guru,
Second Layer,
Tom Boy,
Chris Corsano,
Rapeman,
Fort Wilson Riot,
T. Rex,
The Slits,
The Monochrome Set,
Stereo Dub,
Sällskapet,
The Five Americans,
The Shadows of Knight,
Derrick May,
Deutsch Amerikanische Freundschaft,
Godley & Creme,
Gong,
The Sisters of Mercy,
Teenage Jesus and the Jerks,
Leonard Cohen,
Henry Cow,
Pharaoh Sanders and the Fire Engines,
Siouxsie and the Banshees,
Dual Sessions,
Animal Collective,
Connie Case,
The Smoke,
Nick Fraelich,
The Move, The Move, The Move, The Move.
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.