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 Bosnia Herzegovina and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Lyon and Stockholm.
I'm losing my edge to the art-school Portland 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 arpeggiator 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 Jacques Brel to the crunk 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 Banda Bassotti. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Ornette Coleman 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 '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
The Fugs,
Talk Talk,
Godley & Creme,
Lakeside,
Selector Dub Narcotic,
Curtis Mayfield,
Be Bop Deluxe,
Swans,
The Knickerbockers,
Lindisfarne,
Avey Tare's Slasher Flicks,
Monks,
Buzzcocks,
Public Image Ltd.,
kango's stein massive,
Juan Atkins,
Neil Young,
Qualms,
The Standells,
Terrestrial Tones,
Malaria!,
Bootsy's Rubber Band,
Lightning Bolt,
Make Up,
Joey Negro,
Jeff Mills,
The Slackers,
Peter and Kerry,
Deakin,
Grandmaster Flash and the Furious Five,
Graham Central Station,
The Chocolate Watch Band,
The Toasters,
Audionom,
Organ,
The Electric Prunes,
The Slits,
Warsaw,
Babytalk,
Black Bananas,
Teenage Jesus and the Jerks,
Interpol,
The Residents,
Moss Icon,
Leonard Cohen,
the Soft Cell,
Nick Cave & The Bad Seeds,
DNA,
Bizarre Inc.,
Dead Boys,
Rotary Connection,
John Coltrane,
Agent Orange,
Marine Girls,
Cybotron,
A Flock of Seagulls,
The Moleskins,
Simply Red,
Dark Day,
Bill Wells,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.