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 France and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school Lyon 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 organ sounds with much patience.
I was there when Captain Beefheart 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 Scott Walker to the grunge kids.
I played it at CBGB's.
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 U.S. Maple. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal rap 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Harpers Bizarre,
Hoover,
X-102,
Average White Band,
Mark Hollis,
Davy DMX,
Be Bop Deluxe,
Pantaleimon,
The Monochrome Set,
Tim Buckley,
Big Daddy Kane,
Junior Murvin,
The Angels of Light,
Barbara Tucker,
Intrusion,
Circle Jerks,
Khruangbin,
Bobby Sherman,
Moss Icon,
Nick Fraelich,
Funkadelic,
Lou Reed & Metallica,
Captain Beefheart & His Magic Band,
Gil Scott-Heron & Brian Jackson,
The Golliwogs,
Lalo Schifrin,
ABC,
Sound Behaviour,
Arthur Verocai,
Kings Of Tomorrow,
E-Dancer,
Sonic Youth,
Jawbox,
Panda Bear,
Ludus,
Masters at Work,
The Trojans,
The Remains,
Gian Franco Pienzio,
John Holt,
Negative Approach,
Banda Bassotti,
Spoonie Gee,
Lakeside,
Sun Ra,
Rhythim Is Rhythim,
World's Most,
Ronan,
Bush Tetras,
Pussy Galore,
Monolake,
Oppenheimer Analysis,
Anthony Braxton,
The Birthday Party,
Goldenarms,
the Normal, the Normal, the Normal, the Normal.
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.