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 Dominica and from Tehran.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Minor Threat to the dance 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 Gerry Rafferty. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
The Detroit Cobras,
David Axelrod,
Grandmaster Flash and the Furious Five,
Silicon Teens,
Arthur Verocai,
Aswad,
Archie Shepp,
Jawbox,
Lyres,
The Raincoats,
Max Romeo,
The Names,
Matthew Bourne,
Parry Music,
Cabaret Voltaire,
Pantytec,
ABC,
UT,
Au Pairs,
The Monks,
Cymande,
Mo-Dettes,
Barry Ungar,
Kurtis Blow,
Jeru the Damaja,
Bush Tetras,
Lizzy Mercier Descloux,
Liliput,
Darondo,
Lou Christie,
Eric B and Rakim,
Animal Collective,
Cheater Slicks,
KRS-One,
Bobby Sherman,
Joy Division,
10cc,
Con Funk Shun,
Janne Schatter,
FM Einheit,
The Men They Couldn't Hang,
Notorious BIG live in Amsterdam,
David Bowie,
Idris Muhammad,
Peter Gordon & Love of Life Orchestra,
The Fugs,
Pussy Galore,
Ossler,
Crime,
Howard Jones,
Jandek,
Groovy Waters,
Y Pants,
EPMD,
Gang Gang Dance,
The Count Five,
Deepchord,
Gil Scott Heron,
Magazine,
Eddi Front,
Skriet,
Quando Quango,
Angels of Light & Akron/Family,
Urselle, Urselle, Urselle, Urselle.
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.