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 Philippines and from Hong Kong.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Paris and Edmonton.
I'm losing my edge to the art-school Woodstock 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 clarinet 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 Tropical Tobacco to the crunk kids.
I played it at Trash.
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 Nik Kershaw. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal rap 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Liaisons Dangereuses,
Bobbi Humphrey,
Neu!,
Reagan Youth,
The Golliwogs,
Archie Shepp,
Icehouse,
Peter and Kerry,
The Star Department,
The Moleskins,
Todd Rundgren,
Brand Nubian,
The Happenings,
Harmonia,
The Skatalites,
Dorothy Ashby,
Talk Talk,
The Monochrome Set,
Joy Division,
Nas,
Kings Of Tomorrow,
Ajijia Myrayebe,
Iggy Pop,
KRS-One,
Excepter,
New Order,
Eve St. Jones,
Lalann,
Jacques Brel,
Procol Harum,
Trumans Water,
Panda Bear,
Crime,
Unwound,
Sad Lovers and Giants,
Sunsets and Hearts,
Richard Hell and the Voidoids,
Los Fastidios,
Boogie Down Productions,
Big Daddy Kane,
Altered Images,
JFA,
Hasil Adkins,
The Velvet Underground,
Derrick Morgan,
Glambeats Corp.,
Jeff Lynne,
Ash Ra Tempel,
Basic Channel,
FM Einheit,
Leonard Cohen,
MDC,
Aswad,
Prince Buster,
Country Joe & The Fish,
The Move,
Fatback Band,
The Cosmic Jokers,
The Standells,
Ronnie Foster,
The Gap Band,
Dual Sessions,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.