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 Uzbekistan and from Portland.
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 1965 to 1973.
I'm losing my edge.
To all the kids in New York and Paris.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe 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 kango's stein massive to the grunge kids.
I played it at the Troubador.
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 Blake Baxter. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Average White Band,
Porter Ricks,
Alton Ellis,
Camouflage,
Cluster,
DNA,
Eric Dolphy,
Qualms,
Chrome,
A Flock of Seagulls,
Marc Almond,
Skaos,
Altered Images,
Ornette Coleman,
The Tremeloes,
Kas Product,
Jacob Miller,
Spandau Ballet,
Brand Nubian,
Unrelated Segments,
Public Enemy,
Pete Rock & C.L. Smooth,
Nas,
Television Personalities,
Loose Ends,
Bobby Hutcherson,
Black Pus,
Nico,
Newcleus,
Warsaw,
In Retrospect,
The Cure,
Technova,
Nick Fraelich,
Soft Cell,
Roy Ayers Ubiquity,
Fort Wilson Riot,
Glenn Branca,
Leonard Cohen,
Infiniti,
Radiopuhelimet,
Lower 48,
Nation of Ulysses,
The Names,
Delta 5,
Das Ding,
The Fugs,
Andrew Hill,
Model 500,
Kauko Röyhkä ja Narttu,
Soul II Soul,
Outsiders,
Cheater Slicks,
The Raincoats,
Arab on Radar,
kango's stein massive,
Kurtis Blow,
Goldenarms,
DJ Style,
The Gories,
Section 25,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.