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 Mozambique and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Salvador and Paris.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum 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 Hasil Adkins to the funk kids.
I played it at the 40 Watt.
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 Underground Resistance tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Andrew Ashong & Theo Parrish,
Roxette,
The Standells,
the Swans,
Nation of Ulysses,
Peter and Kerry,
Hasil Adkins,
the Soft Cell,
Lightning Bolt,
UT,
Donald Byrd,
Black Moon,
Ten City,
Groovy Waters,
Thee Headcoats,
The Zeros,
Cymande,
cv313,
Model 500,
Joe Finger,
Adolescents,
Freddie Wadling,
Man Parrish,
Bootsy's Rubber Band,
X-101,
Beasts of Bourbon,
Todd Rundgren,
Art Ensemble Of Chicago,
Andrew Hill,
Echo & the Bunnymen,
The Barracudas,
Gong,
Sly & The Family Stone,
Captain Beefheart & His Magic Band,
The Count Five,
Panda Bear,
Louis and Bebe Barron,
B.T. Express,
Japan,
Kango’s Stein Massive,
Black Bananas,
The Move,
Alison Limerick,
The Durutti Column,
R.M.O.,
Silicon Teens,
Animal Collective,
Gabor Szabo,
Stereo Dub,
The Blackbyrds,
Avey Tare's Slasher Flicks,
Surgeon,
The Detroit Cobras,
Liliput,
Flipper,
Loose Ends,
Hoover,
Aloha Tigers,
The Names,
The Walker Brothers,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.