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 Serbia and from New York.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Mexico City and Taipei.
I'm losing my edge to the art-school Bologna 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Sexual Harrassment to the grunge kids.
I played it at the Crocodile.
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 Sexual Harrassment. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
James Chance & The Contortions,
JFA,
Silicon Teens,
Throbbing Gristle,
Stereo Dub,
Magazine,
Scion,
Kas Product,
Visage,
The Wake,
Marcia Griffiths,
Girls At Our Best!,
T.S.O.L.,
Outsiders,
Fluxion,
Accadde A,
The Pretty Things,
Sad Lovers and Giants,
kango's stein massive,
The West Coast Pop Art Experimental Band,
Todd Terry,
The Monks,
Boz Scaggs,
KRS-One,
Avey Tare,
Scrapy,
Crispy Ambulance,
The Raincoats,
Essential Logic,
Danielle Patucci,
Albert Ayler,
Lebanon Hanover,
Erykah Badu,
The Gun Club,
The Techniques,
Amon Düül II,
the Soft Cell,
Slave,
Pantytec,
Jimmy McGriff,
Public Enemy,
Marc Romboy vs. Booka Shade,
Swans,
Matthew Bourne,
Janne Schatter,
Rites of Spring,
Aural Exciters,
The Gories,
Eurythmics,
Selector Dub Narcotic,
Boogie Down Productions,
Hashim,
Bill Near,
The Moody Blues,
Kool Moe Dee,
Henry Cow,
Joy Division,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.