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 Iraq and from Spokane.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Columbus and Woodstock.
I'm losing my edge to the art-school Taipei 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 Zapp practice in a loft in Hamilton.
I was working on the theremin 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 Talk Talk to the jazz 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 The Music Machine. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Curtis Mayfield,
Marc Romboy vs. Booka Shade,
Ituana,
Deepchord,
Throbbing Gristle,
Buzzcocks,
Notorious BIG live in Amsterdam,
Alison Limerick,
F. McDonald,
Black Pus,
Albert Ayler,
Hot Snakes,
Main Source,
Jawbox,
Slave,
Pantaleimon,
Rufus Thomas,
Gabor Szabo,
Teenage Jesus and the Jerks,
Mandrill,
The Names,
Silicon Teens,
Franke,
Bush Tetras,
Heaven 17,
It's A Beautiful Day,
Althea and Donna,
The Leaves,
Dr. Dre and Snoop Doggy Dog,
Iggy Pop,
The Flesh Eaters,
Sly & The Family Stone,
Blake Baxter,
Ten City,
Bootsy Collins,
Fifty Foot Hose,
Dorothy Ashby,
Fort Wilson Riot,
Shuggie Otis,
New Order,
Tom Boy,
Nick Cave & The Bad Seeds,
Interpol,
Black Sheep,
Amazonics,
Sugar Minott,
Major Organ And The Adding Machine,
Al Stewart,
Half Japanese,
Parry Music,
Derrick May,
Johnny Clarke,
Gary Puckett & The Union Gap,
Japan,
Peter and Kerry,
Theoretical Girls,
Country Joe & The Fish,
The Chocolate Watch Band,
Loose Ends,
Justin Hinds & The Dominoes,
The Gories, The Gories, The Gories, The Gories.
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.