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 South Sudan and from Lille.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Tehran 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Skriet to the disco kids.
I played it at the Troubador.
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 Pierre Henry. All the underground hits.
All Monks tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
The Alarm Clocks,
Bobby Womack,
Echospace,
Bobbi Humphrey,
X-101,
Wighnomy Brothers & Robag Wruhme,
Flipper,
Avey Tare's Slasher Flicks,
The American Breed,
Siouxsie and the Banshees,
The Modern Lovers,
The Fuzztones,
The Birthday Party,
Pulsallama,
Bluetip,
Soul II Soul,
Vaughan Mason & Crew,
cv313,
Stetsasonic,
Avey Tare & Kría Brekkan,
Pantytec,
Carl Craig,
Deutsch Amerikanische Freundschaft,
X-Ray Spex,
Fela Kuti,
Glenn Branca,
Prince Buster,
Dead Boys,
Flamin' Groovies,
Lyres,
Sällskapet,
Anthony Braxton,
Jandek,
Intrusion,
Lou Reed & Metallica,
Lindisfarne,
Joe Smooth,
Bill Near,
New York Dolls,
Symarip,
Kool G Rap & DJ Polo,
Jeru the Damaja,
The Residents,
Pete Rock & C.L. Smooth,
The Detroit Cobras,
Louis and Bebe Barron,
Sonic Youth,
Rosa Yemen,
Fatback Band,
Peter and Kerry,
kango's stein massive,
Andrew Hill,
Alphaville,
Suburban Knight,
Sexual Harrassment,
AZ,
Sight & Sound,
Urselle,
Notorious Big And Bone Thugs,
David McCallum,
Ash Ra Tempel,
Cybotron, Cybotron, Cybotron, Cybotron.
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.