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 Denmark and from Spokane.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Manchester 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 arpeggiator 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 Frankie Knuckles to the jazz 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 Camberwell Now. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Monolake,
Wire,
X-Ray Spex,
Absolute Body Control,
Beasts of Bourbon,
June of 44,
Negative Approach,
Silicon Teens,
Siouxsie and the Banshees,
The Sound,
Janne Schatter,
La Düsseldorf,
Tomorrow,
The Peanut Butter Conspiracy,
Neil Young,
Sam Rivers,
Aloha Tigers,
The Human League,
Eddi Front,
Electric Prunes,
The Motions,
Andrew Ashong & Theo Parrish,
Lonnie Liston Smith,
cv313,
Yaz,
The Cowsills,
Fluxion,
Quadrant,
Desert Stars,
Khruangbin,
Brass Construction,
The Neon Judgement,
Blake Baxter,
Jesper Dahlback,
The Pop Group,
The Star Department,
Spandau Ballet,
Newcleus,
Swell Maps,
Louis and Bebe Barron,
Pulsallama,
Rowland S Howard / Lydia Lunch,
Robert Wyatt,
The Toasters,
Cal Tjader,
Marcia Griffiths,
10cc,
The Move,
Con Funk Shun,
Kaleidoscope,
Can,
Isaac Hayes,
Tres Demented,
China Crisis,
Royal Trux,
Warsaw,
Eve St. Jones,
Lakeside,
Hasil Adkins,
Camron Feat. Memphis Bleek And Beenie Seigel,
Stockholm Monsters,
Rotary Connection,
The Cramps, The Cramps, The Cramps, The Cramps.
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.