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 Tanzania and from Madrid.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Salvador 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 Feelies practice in a loft in Haledon.
I was working on the mellotron 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 Kas Product to the grunge 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 Leonard Cohen. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Symarip 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Average White Band,
the Fania All-Stars,
The Gun Club,
the Bar-Kays,
Terry Callier,
Red Lorry Yellow Lorry,
John Coltrane,
Colin Newman,
DeepChord presents Echospace,
Kayak,
Vainqueur,
Tom Boy,
Flamin' Groovies,
Pet Shop Boys,
The Moody Blues,
Kings Of Tomorrow,
Bush Tetras,
Anakelly,
Nick Cave & The Bad Seeds,
Sonny Sharrock,
Tropical Tobacco,
E-Dancer,
Soulsonic Force,
Fifty Foot Hose,
Metal Thangz,
Frankie Knuckles,
David McCallum,
Siglo XX,
Cymande,
Super Lover Cee & Casanova Rud,
Marmalade,
Albert Ayler,
Arthur Verocai,
Guru Guru,
Basic Channel,
The Remains,
Lyres,
the Soft Cell,
The Index,
Aswad,
Ultra Naté,
Gang Green,
Trumans Water,
DJ Sneak,
DJ Style,
Lizzy Mercier Descloux,
Dave Gahan,
Marc Romboy vs. Booka Shade,
Sight & Sound,
Man Parrish,
The Mighty Diamonds,
Robert Wyatt,
Sex Pistols,
Goldenarms,
Echo & the Bunnymen,
B.T. Express,
Swans,
The J.B.'s,
Dawn Penn,
The Monks,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.