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 Mongolia and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 Mars to the punk kids.
I played it at the Spitz.
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 Men They Couldn't Hang. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Lou Reed 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 '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
Kurtis Blow,
Traffic Nightmare,
Mo-Dettes,
The Star Department,
Soft Machine,
The Alarm Clocks,
Roxette,
De La Soul & Jungle Brothers,
Justin Hinds & The Dominoes,
Avey Tare's Slasher Flicks,
The Gap Band,
the Swans,
Heaven 17,
The Names,
Organ,
Aaron Thompson,
Boogie Down Productions,
Pole,
Ituana,
Sex Pistols,
Electric Prunes,
The Count Five,
Blake Baxter,
The Move,
Bang On A Can,
Girls At Our Best!,
Unrelated Segments,
Stetsasonic,
Fad Gadget,
The United States of America,
Pete Rock & C.L. Smooth,
Soul II Soul,
Nick Cave & The Bad Seeds,
Popol Vuh,
David Bowie,
Louis and Bebe Barron,
Blossom Toes,
Deutsch Amerikanische Freundschaft,
Depeche Mode,
Cabaret Voltaire,
Main Source,
Little Man,
Avey Tare,
The Motions,
Todd Terry,
Isaac Hayes,
Neil Young,
DeepChord presents Echospace,
Kas Product,
Moby Grape,
Joyce Sims,
The Fugs,
Soulsonic Force,
Bush Tetras,
PIL,
The Wake,
Tomorrow,
Dark Day,
The Grass Roots,
Joe Finger,
The West Coast Pop Art Experimental Band,
Flamin' Groovies,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.