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 Norway and from Tokyo.
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 Taipei and Spokane.
I'm losing my edge to the art-school Spokane 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Brass Construction to the punk 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 Kurtis Blow. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
The Doors,
Faraquet,
Sun Ra Arkestra,
Inner City,
Neil Young & Crazy Horse,
Accadde A,
Index,
Ultravox,
Suicide,
U.S. Maple,
Pulsallama,
Hoover,
Blake Baxter,
The Buckinghams,
Art Ensemble Of Chicago,
Dead Boys,
Tres Demented,
Liaisons Dangereuses,
Mission of Burma,
Smog,
Qualms,
Liliput,
Japan,
Scott Walker,
Ken Boothe,
The Standells,
Carl Craig,
Gang Green,
Althea and Donna,
The Slits,
Main Source,
CMW,
Siglo XX,
Public Image Ltd.,
Toni Rubio,
The Dave Clark Five,
Be Bop Deluxe,
Roger Hodgson,
Monolake,
Amazonics,
Sexual Harrassment,
Nirvana,
Ultra Naté,
Clear Light,
Goldenarms,
Cameo,
Thee Headcoats,
Erykah Badu,
Lebanon Hanover,
Terrestrial Tones,
Country Teasers,
Manfred Mann's Earth Band,
Glenn Branca,
Wally Richardson,
Tom Boy,
The Alarm Clocks,
Schoolly D,
The Cure,
Zero Boys,
Easy Going,
Wings,
Echospace, Echospace, Echospace, Echospace.
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.