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 Thailand and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Toronto 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 guitar 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 Marine Girls to the electroclash kids.
I played it at the Crocodile.
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 Doors. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every These Immortal Souls 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your organ and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Lee Hazlewood,
Roy Ayers Ubiquity,
James Chance & The Contortions,
Yazoo,
Colin Newman,
The Zeros,
Ituana,
Janne Schatter,
Pere Ubu,
Ronnie Foster,
The Barracudas,
Sun City Girls,
Royal Trux,
The Pretty Things,
X-102,
The Saints,
Hasil Adkins,
Arthur Verocai,
Zapp,
Deakin,
In Retrospect,
Average White Band,
Audionom,
Drexciya,
June Days,
World's Most,
The Chocolate Watch Band,
Blossom Toes,
Bobby Hutcherson,
Groovy Waters,
Bootsy Collins,
Young Marble Giants,
The Music Machine,
The Fire Engines,
Drive Like Jehu,
Tim Buckley,
Public Image Ltd.,
R.M.O.,
Harry Pussy,
Ludus,
The Monks,
F. McDonald,
Matthew Halsall,
Marine Girls,
The Flesh Eaters,
Rowland S Howard / Lydia Lunch,
Matthew Bourne,
Masters at Work,
The Buckinghams,
The Toasters,
X-101,
Unwound,
Goldenarms,
Procol Harum,
Andrew Ashong & Theo Parrish,
Juan Atkins,
Livin' Joy,
Khruangbin,
Circle Jerks,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.