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 El Salvador and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Tehran 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 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 Aloha Tigers to the crunk 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 DJ Style. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Electric Prunes,
Lou Christie,
Mandrill,
Bootsy's Rubber Band,
Grey Daturas,
The Doors,
Stereo Dub,
The Saints,
Leonard Cohen,
Magma,
Metal Thangz,
Ornette Coleman,
Loose Ends,
Avey Tare's Slasher Flicks,
Procol Harum,
Stockholm Monsters,
The Peanut Butter Conspiracy,
Radio Birdman,
Saccharine Trust,
The Remains,
Al Stewart,
John Cale,
The Kinks,
Urselle,
Barrington Levy,
The Smoke,
Minny Pops,
Roger Hodgson,
Skriet,
Steve Hackett,
Marmalade,
Deepchord,
Youth Brigade,
Circle Jerks,
Joyce Sims,
Underground Resistance,
Pantaleimon,
Bad Manners,
Roxy Music,
Panda Bear,
The Birthday Party,
The West Coast Pop Art Experimental Band,
The Men They Couldn't Hang,
Quadrant,
Whodini,
Cluster,
Groovy Waters,
Eric Copeland,
Danielle Patucci,
Technova,
Brick,
Donald Byrd,
Quando Quango,
Oppenheimer Analysis,
Junior Murvin,
Hot Snakes,
Tom Boy,
The Sonics,
John Lydon,
Mary Jane Girls,
The Index,
The Monochrome Set,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.