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 Egypt and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Beijing and Salvador.
I'm losing my edge to the art-school Hong Kong 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 theremin 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 Ajijia Myrayebe to the rap 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 Ronan. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Wighnomy Brothers & Robag Wruhme record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Agent Orange,
K-Klass,
The Gun Club,
Aural Exciters,
The Dirtbombs,
Cal Tjader,
Lakeside,
T.S.O.L.,
Smog,
Khruangbin,
Derrick Morgan,
Chrome,
Inner City,
Sex Pistols,
Eden Ahbez,
the Human League,
Heavy D & The Boyz,
Crooked Eye,
The Moody Blues,
Grauzone,
Cabaret Voltaire,
Kerri Chandler,
The Happenings,
Stockholm Monsters,
Slave,
Crime,
Avey Tare's Slasher Flicks,
Art Ensemble Of Chicago,
Camouflage,
Henry Cow,
PIL,
Faraquet,
Ohio Players,
Masters at Work,
Tomorrow,
Deadbeat,
Drexciya,
Ajijia Myrayebe,
The Velvet Underground,
Bobby Womack,
Fifty Foot Hose,
Easy Going,
Altered Images,
Electric Prunes,
Ultimate Spinach,
Model 500,
Echospace,
Rod Modell,
Deakin,
Peter Gordon & Love of Life Orchestra,
The Tremeloes,
Flipper,
The Doobie Brothers,
the Swans,
The Real Kids,
The Golliwogs,
Lafayette Afro Rock Band,
DNA,
Zapp, Zapp, Zapp, Zapp.
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.