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 Guatemala 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 1975.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 Feelies practice in a loft in Haledon.
I was working on the spring reverb 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 Al Stewart to the electroclash kids.
I played it at the Hacienda.
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 The Names. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Quadrant 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer 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 arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
The Gladiators,
Thinking Fellers Union Local 282,
The Doors,
Major Organ And The Adding Machine,
a-ha,
Drexciya,
KRS-One,
Camouflage,
Bang on a Can All-Stars,
The Vogues,
Bauhaus,
The Mighty Diamonds,
Gregory Isaacs,
DJ Style,
Radiohead,
The Cowsills,
Gang of Four,
World's Most,
The Trojans,
Sällskapet,
Crash Course in Science,
Gabor Szabo,
The Skatalites,
Hasil Adkins,
Metal Thangz,
Johnny Clarke,
Harpers Bizarre,
Avey Tare,
Lee Hazlewood,
Girls At Our Best!,
Neu!,
The Detroit Cobras,
Moby Grape,
Los Fastidios,
Arcadia,
Absolute Body Control,
Peter Gordon & Love of Life Orchestra,
Lakeside,
The Dave Clark Five,
Black Moon,
Groovy Waters,
Desert Stars,
Ultra Naté,
The Raincoats,
Young Marble Giants,
Yusef Lateef,
A Certain Ratio,
Heavy D & The Boyz,
Eric B and Rakim,
The Slits,
Mad Mike,
Sarah Menescal,
Ken Boothe,
Minor Threat,
Tropical Tobacco,
Wings,
UT,
Bob Dylan,
The Offenders,
Yellowson,
The Selecter,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.