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 Paraguay and from Lille.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Calgary 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 harpsichord 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 Metal Thangz to the disco kids.
I played it at CBGB's.
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 Erykah Badu. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Sonics record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Magma,
The Alarm Clocks,
AZ,
The Gap Band,
Electric Prunes,
Duran Duran,
Oppenheimer Analysis,
Dorothy Ashby,
Eve St. Jones,
Aural Exciters,
Dual Sessions,
The Remains,
Sam Rivers,
Heavy D & The Boyz,
John Holt,
Traffic Nightmare,
Danielle Patucci,
The Mummies,
The Zeros,
Siouxsie and the Banshees,
Kings Of Tomorrow,
Livin' Joy,
Ultimate Spinach,
Theoretical Girls,
Hasil Adkins,
Bobbi Humphrey,
Deutsch Amerikanische Freundschaft,
The Moleskins,
The Buckinghams,
Desert Stars,
Rites of Spring,
Guru Guru,
The Slackers,
Blancmange,
Liliput,
Be Bop Deluxe,
Wolf Eyes,
Althea and Donna,
Nik Kershaw,
Section 25,
Black Pus,
Prince Buster,
Ralphi Rosario,
Matthew Bourne,
Ohio Players,
Black Sheep,
U.S. Maple,
Bootsy's Rubber Band,
Grauzone,
Henry Cow,
Brick,
Lou Reed & John Cale,
Spoonie Gee,
R.M.O.,
The Dave Clark Five,
The Men They Couldn't Hang,
Lalann,
Mission of Burma,
DeepChord presents Echospace,
The Blues Magoos,
The Associates,
Mandrill,
Camouflage, Camouflage, Camouflage, Camouflage.
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.