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 United States and from Cairo.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Hong Kong.
I'm losing my edge to the art-school Columbus 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Jandek to the rock kids.
I played it at the 40 Watt.
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 Junior Murvin. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Byron Stingily 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Supertramp,
Slave,
The Last Poets,
Dead Boys,
The Sisters of Mercy,
The Tremeloes,
The Vogues,
The Music Machine,
Au Pairs,
Wings,
Brick,
Bill Near,
The Blues Magoos,
Arab on Radar,
Talk Talk,
DNA,
Barry Ungar,
The Pop Group,
Louis and Bebe Barron,
Quadrant,
Joensuu 1685,
Graham Central Station,
Selector Dub Narcotic,
Kauko Röyhkä ja Narttu,
The Neon Judgement,
Bang on a Can All-Stars,
Buzzcocks,
The Barracudas,
Negative Approach,
Aural Exciters,
The Residents,
The J.B.'s,
Niagra,
Model 500,
Black Flag,
Black Bananas,
London Community Gospel Choir,
Stereo Dub,
T. Rex,
Roy Ayers,
Erasure,
Mad Mike,
Liliput,
Steve Hackett,
Eddi Front,
The Happenings,
Robert Görl,
Aaron Thompson,
Black Sheep,
Dr. Dre and Snoop Doggy Dog,
Andrew Ashong & Theo Parrish,
Monks,
Danielle Patucci,
Colin Newman,
Deutsch Amerikanische Freundschaft,
Saccharine Trust,
The Move,
Magma,
Kayak,
Underground Resistance,
Sällskapet,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.