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 Benin and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Houston and Bologna.
I'm losing my edge to the art-school Bremen 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Chrome to the techno 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 Fear. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Neil Young 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Robert Görl,
a-ha,
Television,
Babytalk,
Radio Birdman,
Maurizio,
John Holt,
Rakim,
Lou Reed & John Cale,
Tropical Tobacco,
Hot Snakes,
Slick Rick,
The Cowsills,
Lee Hazlewood,
Grandmaster Flash,
The Cramps,
Amon Düül,
Aural Exciters,
Heavy D & The Boyz,
John Foxx,
The Raincoats,
Lungfish,
Jawbox,
The Names,
Nik Kershaw,
Eurythmics,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Blancmange,
Arab on Radar,
Pantytec,
Suicide,
The Fire Engines,
Moebius,
Public Enemy,
Lalann,
UT,
Eric B and Rakim,
Laurel Aitken,
The Techniques,
Gregory Isaacs,
Harmonia,
Heaven 17,
Lou Reed,
Liliput,
The Mojo Men,
Wings,
Justin Hinds & The Dominoes,
The Stooges,
Parry Music,
Brothers Johnson,
The Tremeloes,
The Divine Comedy,
Half Japanese,
Wolf Eyes,
Michelle Simonal,
Aloha Tigers,
Lonnie Liston Smith,
Jeff Mills,
the Slits,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.