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 Antigua and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Stockholm.
I'm losing my edge to the art-school Halifax 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 harpsichord sounds with much patience.
I was there when David Bowie 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 The Fugs to the funk 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 Fugazi. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Anthony Braxton,
Brothers Johnson,
Zapp,
Sex Pistols,
Barry Ungar,
The Motions,
Avey Tare's Slasher Flicks,
Jerry's Kids,
The Victims,
Radio Birdman,
Eyeless In Gaza,
Fluxion,
The Grass Roots,
Young Marble Giants,
Beasts of Bourbon,
CMW,
The Associates,
Graham Central Station,
Scientists,
Gerry Rafferty,
Quantec,
Qualms,
Ronan,
Flash Fearless,
Michelle Simonal,
Jesper Dahlback,
8 Eyed Spy,
Jeru the Damaja,
Skarface,
The Velvet Underground,
Steve Hackett,
Ultravox,
Peter & Gordon,
Donny Hathaway,
Funkadelic,
Q65,
Electric Light Orchestra,
Hasil Adkins,
Rhythm & Sound,
F. McDonald,
Crooked Eye,
Lalo Schifrin,
a-ha,
Reuben Wilson,
Kevin Saunderson,
Tim Buckley,
Motorama,
David McCallum,
Index,
Sunsets and Hearts,
Cameo,
U.S. Maple,
Chrome,
Maurizio,
Rod Modell,
The Vogues,
Sam Rivers,
Moss Icon,
Big Daddy Kane,
Stereo Dub,
It's A Beautiful Day,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.