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 Serbia and from Tokyo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Paris and Tehran.
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 mellotron sounds with much patience.
I was there when Michael McDonald 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 The Dirtbombs to the funk kids.
I played it at the Astoria.
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 Alarm Clocks. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Trumans Water record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Prince Buster,
Todd Terry,
R.M.O.,
Tim Buckley,
X-102,
Nas,
Mad Mike,
U.S. Maple,
The Modern Lovers,
OOIOO,
Jandek,
The Leaves,
Tears for Fears,
Susan Cadogan,
Sonny Sharrock,
Main Source,
Electric Prunes,
Reagan Youth,
Röyhkä ja Rättö ja Lehtisalo,
Pylon,
The Trojans,
Quando Quango,
Terrestrial Tones,
Jacob Miller,
The Grass Roots,
Sam Rivers,
The Dirtbombs,
Super Lover Cee & Casanova Rud,
Japan,
It's A Beautiful Day,
Mary Jane Girls,
Zapp,
Roxette,
Mars,
The Red Krayola,
The Monochrome Set,
Art Ensemble Of Chicago,
Amazonics,
The Gun Club,
Neil Young,
Avey Tare & Kría Brekkan,
Joe Smooth,
Ken Boothe,
The Durutti Column,
Oneida,
a-ha,
Pere Ubu,
Cabaret Voltaire,
T.S.O.L.,
Duran Duran,
Yellowson,
the Germs,
Das Ding,
Bob Dylan,
The Fall,
Ralphi Rosario,
Skriet,
Selector Dub Narcotic,
Carl Craig,
Suburban Knight,
Average White Band,
Urselle, Urselle, Urselle, Urselle.
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.